ATALOGUE  OF  A  LOAN 
EXHIBITION  OF 
PAINTINGS  AT  THE 
CARNEGIE  INSTI¬ 
TUTE,  NOVEMBER 
SIXTH,  NINETEEN 
HUNDRED  AND  TWO,  UNTIL 
JANUARY  FIRST,  NINETEEN 
HUNDRED  AND  THREE 


$ 


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sT 


4 


PREFACE. 

& 

FEW  words  only  are  necessary  to 
explain  the  purpose  of  the  Trus¬ 
tees  in  presenting-  a  loan  collection 
of  paintings  at  this  time. 

Following  the  noble  exhibition  with  which 
the  galleries  were  opened,  six  successive  an- 
5  nual  exhibitions  have  been  shown.  That  the 
w  view  of  painting  afforded  by  an  annual  exhibi¬ 
tion  is  limited  and  partial,  may  be  frankly  con- 
ceded.  It  seems  fitting,  therefore,  that  our 
l  people  be  again  given  an  opportunity  to  review 
the  broader  field  as  it  is  represented  by  paint- 
j  ings  produced  during  a  period  of  more  than 
3  three  hundred  years,  to  the  end  that  their 
horizon  may  be  widened  and,  perchance,  their 
convictions  strengthened. 

Here,  then,  are  presented  many  works  by 
the  master  painters  of  the  world  of  art,  and 
they  are  offered  freely  for  the  joy  of  our  own 
townsfolk  and  that  of  our  civic  neighbors. 
Many  private  owners  and  public  institu¬ 
tions  have  loaned  their  treasures  to  this  end, 
and  the  result  cannot  but  be  gratifying  to 


those  who  give  as  well  as  to  those  who  receive 
an  influence  so  beneficent  and  powerful. 

Among-  the  artists  represented  are  many 
who  have  stood  the  test  of  time  in  a  public 
sense,  as  well  as  the  vicissitudes  of  varied, 
and  often  picturesque,  criticism.  While  this 
is  true,  and  important  as  furnishing-  a  reason¬ 
ably  safe  ground  of  confidence  in  the  public 
mind,  it  is  at  least  interesting-  to  remember 
that  there  never  was  a  time  when  the  now 
universally  acclaimed  masters  were  not  under¬ 
stood  and  fully  appreciated.  Any  other  view 
is  inadmissible,  except  upon  the  theory  that 
only  one  able  painter  lived  and  worked  in  each 
period.  It  is  a  matter  of  history  that  Corot, 
who  labored  long  and  patiently  before  public 
recognition  came,  was  early  understood  by 
his  contemporaries.  Twenty  years  before  he 
achieved  fame,  Constant  Dutilleux,  himself  a 
painter  of  limited  means,  purchased  a  small 
Corot  landscape  at  great  personal  sacrifice ; 
and  in  the  same  year  Delacroix  said  of  the 
gentle  laborer,  “He  is  a  painter — a  true 
painter.”  The  first  ray  of  light  crossed  Mil¬ 
let’s  dreary  pathway  when  he  was  told  that 
Diaz,  with  whom  he  was  then  unacquainted, 
greatly  admired  his  “La  Le^on  d’Equita- 
tion ;  ”  and  many  years  before  the  great 


master  was  known  even  to  the  art  dealers 
of  Paris,  Rousseau  bought  one  of  his  works 
when  he  could  ill  spare  a  franc  from  his  own 
meagre  earning’s.  In  1866,  Daubig-ny’s  im¬ 
portant  moonlight  was  hung  at  the  top  of  the 
room  in  the  Royal  Academy,  and  a  young 
painter  named  Wills  purchased  the  work  thus 
slighted.  In  1837,  Rousseau’s  “Avenue  de 
Chataigniers  ”  was  rejected  by  the  Salon  jury, 
and  Diaz,  Dupre,  and  Delacroix  were  unceas¬ 
ing  in  their  protestations.  Despite  these  evi¬ 
dences  of  thorough  appreciation,  public  or 
general  recognition  was  often  tardy:  but  as 
Henley  has  said,  “An  eye  for  paint  is  no 
more  general  than  an  ear  for  music,  or  a  head 
for  mathematics.” 

A  feature  of  the  catalogue  is  the  collec¬ 
tion  of  extracts  from  many  writers  on  art. 
Modern  criticism  has  been  searched  in  order 
that  these  side  lights  might  be  thrown  upon 
the  masters  whose  works  are  here  presented. 
These  opinions  and  comments  are  offered 
without  endorsement  or  detraction,  and  they 
will  doubtless  be  read  and  weighed  as  col¬ 
lateral  testimony  in  the  presence  of  the  high¬ 
est  and  best  possible  evidence,  the  pictures 
themselves.  _  _TT 


ACKNOWLEDGMENT 


The  Board  of  Trustees,  through  the  Director 
and  the  Fine  Arts  Committee,  makes  grateful 
acknowledgment  and  expresses  sincere  thanks 
to  the  following  contributors,  through  whose 
generous  co-operation  the  assembling  of  the 
collection  was  made  possible  : 

The  Art  Institute  of  Chicago 

Estate  of  A.  M.  Byers,  Pittsburgh 

Mr.  John  Caldwell,  Pittsburgh 

Mr.  A.  J.  Cassatt,  Philadelphia 

Senator  William  A.  Clark,  Butte,  Montana 

Mr.  Thomas  Shields  Clarke,  New  York 

Messrs.  Cottier  and  Company,  New-  York 

Mr.  Henry  Darlington,  Pittsburgh 

Mr.  Charles  Donnelly,  Pittsburgh 

Mr.  Herbert  DuPuy,  Pittsburgh 

Messrs.  Durand-Ruel  and  Company,  New  York 

Mr.  William  E.  Elkins,  Philadelphia 

Mr.  William  N.  Frew,  Pittsburgh 

Mr.  William  H.  Fuller,  New  York 

Miss  Helen  Miller  Gould,  New  York 

Estate  of  Jay  Gould,  New  York 


Mr.  George  A.  Hearn,  New  York 

Mr.  John  G.  Hoemes,  Pittsburgh 

Mr.  Joseph  Jefferson,  Buzzards  Bay,  Mass. 

Mr.  John  G.  Johnson,  Philadelphia 

Messrs.  M.  Knoedeer  and  Company,  New  York 

Mr.  George  M.  Baughein,  Pittsburgh 

Mr.  James  B.  Baughein,  Pittsburgh 

Mr.  Johns  McCeeave,  Pittsburgh 

Mr.  R.  Haee  McCormick,  Chicago 

Mr.  Emerson  McMieein,  New  York 

Mr.  George  T.  Oeiver,  Pittsburgh 

Mr.  Henry  W.  Oeiver,  Pittsburgh 

Mr.  Eugene  M.  O’Neiee,  Pittsburgh 

Mr.  Alexander  R.  Peacock,  Pittsburgh 

Pennsylvania  Academy  of  the  Fine  Arts, 
Philadelphia 

Mr.  Bawrence  C.  Phipps,  Pittsburgh 
Mr.  Henry  Kirke  Porter,  Pittsburgh 
Mrs.  Henry  C.  Potter,  New  York 
Mrs.  A.  A.  Schmertz,  Pittsburgh 
Mr.  J.  M.  Schoonmaker,  Pittsburgh 
Mr.  Charles  M.  Schwab,  Pittsburgh 
Mr.  H.  K.  Thaw,  Pittsburgh 
Mrs.  William  Thaw,  Pittsburgh 
Mr.  Samuel  Untermyer,  New  York 
Mr.  E.  Burgess  Warren,  Philadelphia 
Mr.  D.  T.  Watson,  Pittsburgh 
Mr.  Herman  H.  Westinghouse,  Pittsburgh 


TRUSTEES 

William  N.  Frew,  President 
Robert  Pitcairn,  Vice  President 
William  E.  Corey,  Treastirer 
Samuel  Harden  Church,  Secretary 


Albert  J.  Barr 
E.  M.  Bigelow 
James  J.  Booth 
John  A.  Brashear 
Hon.  J.  O.  Brown 
John  Caldwell 
Thomas  M.  Carnegie 
George  H.  Clapp 
Hon.  Josiah  Cohen 
Charles  S.  Crawford 
Robert  H.  Douglass 
Edmund  M.  Ferguson 
John  G.  Holmes 
James  F.  Hudson 
John  B.  Jackson 
John  S.  Lambie 


Rev.  A.  A.  Lambing 
George  A.  Macbeth 
William  McConway 
W.  H.  McKelvy,  M.  D. 
Andrew  W.  Mellon 
C.  C.  Mellor 
Henry  Kirke  Porter 
Henry  Phipps 
Hon.  James  H.  Reed 
W.  L.  Scaife 
Hon.  John  D.  Shafer 
John  P.  Sterrett,  M.  D. 
W.  H.  Stevenson 
A.  Bryan  Wall 
Joseph  C.  Wasson 
Joseph  R.  Woodwell 


FINE  ARTS  COMMITTEE 


John  Caldwell 

Chair 7ii  an 

Joseph  R.  Wood  well 
William  N.  Frew 
A.  Bryan  Wall 
William  McConway 
E.  M.  Bigelow 
John  G.  Holmes 
Charles  S.  Crawford 


DIRECTOR  OF  FINE  ARTS 


John  W.  Beatty,  M.  A. 


ARTISTS  REPRESENTED 


Alexander 

Henner 

Munkacsy 

Alma-Tadema 

Hobbema 

Murieeo 

Boedini 

Hogarth 

Neuvieee 

Bonheur 

Hoppner 

Opie 

Breton 

Inness 

Pasini 

Brush 

ISABEY 

Raeburn 

Cazin 

ISRAEES 

Rembrandt 

Chase 

Jacque 

Reynolds 

Constabee 

Kneeeer 

Ribot 

Corot 

Dawrence 

Romney 

Cottet 

Denbach 

Rosenthal 

Couture 

Beroeee 

Rousseau 

Dagnan- 

Dhermitte 

Roybet 

Bouveret 

Maes 

Rubens 

Daubigny 

Manet 

Ruisdael 

Decamps 

Maris 

Schreyer 

Degas 

Martin 

Swan 

Deeacroix 

*/*. 

Mauve 

Terborch 

Diaz  De  Da  Pena 

1 

Max 

Troyon 

Dupre 

Meissonier 

Turner 

Fortuny  y  Carbo 

Metteing 

Van  Dyck 

Fromentin 

Meyer 

Whistler 

Gainsborough 

Mieeais 

Wilkie 

Gerome 

Mieeet 

Wyant 

Haes 

Monet 

Ziem 

Harpignies 

Monticeeei 

CATALOGUE 


Alexander,  John  W.,  New  York 

Born,  Pittsburgh,  Pa.  Member  of  the  Society 
Nouvelle,  Society  des  Artistes  Francais,  Paris; 
Honorary  member  of  Secession  Society,  Munich, 
Vienna;  International  Society,  London;  Na¬ 
tional  Society  Mural  Painters,  Society  of  Ameri¬ 
can  Artists,  New  York ;  National  Institute  of  Art 
and  Architectural  League;  Associate  National 
Academy,  N.  Y.  Represented  in  the  Luxem¬ 
bourg,  Paris;  in  collections  at  Vienna,  St. 
Petersburg;  Metropolitan  Museum,  New  York; 
Wilstacli  Gallery  and  Pennsylvania  Academy  of 
the  Fine  Arts,  Philadelphia;  Boston  Museum  of 
the  Fine  Arts,  Harvard  and  Princeton  Univer¬ 
sities;  Carnegie  Institute,  Pittsburgh,  and  in 
the  Library  of  Congress,  Washington.  Medals: 
Gold,  Pennsylvania  Academy  of  the  Fine  Arts, 
Philadelphia,  1897;  Paris  Exposition,  1900; 
Pan-American  Exposition,  Buffalo,  1901;  Chev¬ 
alier  of  the  Legion  of  Honor,  1901 

Mr.  Alexander  has  managed  to  create  for  himself  a 
place  among  the  masters  of  schools,  as  an  interpreter  of 
women  in  mysterious  gray  harmonies 

Leon  Benedite ,  Director  of  the  Luxembourg , 
La  Grande  Revue 


Mr.  Alexander  is  always  himself,  for  which  we  may 
be  thankful.  His  canvases  are  pictorial  in  the  best  sense 
of  the  word  and  are  most  happy  in  their  arrangement  of 
line  and  mass  and  in  their  charming  and  varied  tonality 
and  subdued  but  full  color 

Scribner’s,  March,  189b 

1 —  Portrait  of  Mr.  Andrew  Carnegie 
Alma-Tadema,  Sir  Lawrence,  R.  A.,  London 

Born,  Dronryp,  Friesland.  Represented  in 
Collections  at  Amsterdam,  Breslau,  Cardiff, 
Dordrecht,  Frankfort,  Milwaukee,  Vienna,  Tate 
Gallery,  London.  Medals:  2d  class,  1867;  1st 
class,  1878;  Legion  of  Honor,  1873;  Officer, 
1878;  Grand  Prize,  1889 

As  Bulwer  Lytton,  in  the  field  of  literature,  created  a 
picture  of  ancient  civilization  so  successful  that  it  has  not 
been  surpassed  by  his  followers,  Alma  Tadema  has 
solved  the  problem  of  the  picture  of  antique  manners  in 
the  most  authentic  fashion  in  the  province  of  painting. 
*  *  *  How  the  old  Romans  dressed,  how  their  army 
was  equipped  and  attired,  became  as  well  known  to  him 
as  the  appearance  of  the  citizens’  houses,  the  artisans’ 
workshops,  the  market  and  the  bath.  He  knew  the 
forms  of  architecture  as  well  as  he  knew  the  old  myths, 
and  all  domestic  appointments  and  robes  as  exactly  as 
the  usages  of  ritual 

Richard  Mather,  History  of  Modern  Painting 

2 —  Caracalla 

Loaned  by  Mr.  George  T.  Oliver 

Boldini,  Giovanni,  Paris 

Born,  Ferrara,  Italy,  1845.  From  Ferrara  he 


went  to  Florence,  where  he  remained  six  years. 
Since  1872  he  has  lived  in  Paris 

The  Spanish  dash  and  swing  of  motive  may  be  seen 
in  much  of  his  work.  *  *  *  One  who  has  known 

him  closely  *  *  *  defines  his  artistic  personality 

in  these  words:  “A  lover  of  sunshine  and  all  the  gaiety 
and  brilliancy  of  nature  it  involves  ” 

Wesley  Reid  Raids,  Catalogue  of  Modern  Master¬ 
pieces  of  the  late  William  H.  Stewart 


3 — The  Black  Cat 

Loaned  by  Mr.  John  Caldwell 

Bonheur,  Rosalie  (Rosa)  Marie 

Born,  Bordeaux,  France,  1828:  died,  By, 
Thomery,  France,  1899.  Daughter  and  pupil 
of  Raymond  Bonheur.  Medals:  3d  class,  1845; 
1st  class,  1848 ;  1st  class,  Exposition  Universelle, 
1855  ;  2d  class,  1867.  Chevalier  of  the  Legion 
of  Honor,  1865;  Officer,  1894;  Leopold  Cross, 
1880;  Commander’s  Cross  of  the  Royal  Order 
of  Isabella  the  Catholic,  1880;  Member  of  the 
Socidte  des  Artistes  Francais.  From  1849  she 
was  Director  of  the  Paris  Free  School  of  Design, 
which  she  founded.  Member  of  the  Antwerp 
Institute,  1868.  She  was  the  first  woman  to 
receive  the  Leopold  Cross  of  Belgium,  the 
Commander’s  Cross  of  Spain,  and  that  of  the 
Legion  of  Honor  of  France 

The  boldness  of  her  conception  is  sublime.  As  a 
creative  artist  I  place  her  first  among  women,  living  or 
dead.  And  if  you  ask  me  why  she  thus  towers  above 
her  fellows,  by  the  majesty  of  her  work  silencing  every 


detractor,  I  will  say  it  is  because  she  listens  to  God,  and 
not  to  man.  She  is  true  to  self 

Victor  Hugo 

4 —  Flock  of  Sheep 

(Le  Troupeau  de  Moutons) 

Loaned  by  the  A.  M.  Byers  Estate 

5 —  Cattle 

Loaned  by  Miss  Helen  Miller  Gould 

6—  Highland  Cattle 

Loaned  by  Mrs.  William  Thaw 

Breton,  Jules  Adolphe  Aime  Louis 

Courrieres,  Pas-d e-Calais,  France 

Born,  Courrieres,  France,  1827.  Pupil  of  Drol¬ 
ling  and  deVigne,  and  has  devoted  himself  to  the 
representation  of  incidents  taken  from  the  life 
of  the  peasantry.  In  1861  he  was  decorated 
with  the  cross  of  the  Legion  of  Honor,  and  in 
1889  became  a  Commander.  Medals  :  Bronze, 
Exposition  Universelle,  1855;  2d  class,  1857; 
1st  class,  1859;  rappel,  1861;  Gold,  Exposition 
Universelle,  1867;  of  honor,  1872;  Member  of 
the  Institute,  1886 

This  artiste  has  comprehended  the  grave,  serious, 
and  vigorous  poetry  of  the  country,  which  he  expresses 
with  love,  respect,  and  sincerity 

Theopkile  Gautier.  Abecedaire  du  Salon  de  iSbr 

Well  might  Edmond  About  exclaim  *  *  *  that 
the  artist  f*  had  his  hands  full  of  light  and  seemed  able  to 
steal  from  the  sun  the  rays  he  chose  to  use” 

Mrs.  Arthur  Bell ,  Painters  of  the  XIX  Century 


7—  Souvenir  of  Douarnenez 

Loaned  by  the  A.  M.  Byers  Estate 

8 —  The  Haymakers 

Loaned  by  Mr.  Lawrence  C.  Phipps 

9 —  Des  l’aurore 

Loaned  by  Mr.  D.  T.  Watson 

Brush,  George  de  Forest,  New  York 

Born,  Shelby ville,  Tenn.,  1855.  Pupil  of  the 
National  Academy  of  Design.  Hallgarten  Prize, 
N.  A.  D.,  1888;  Medal,  World’s  Columbian 
Exposition,  1893;  Temple  Gold  Medal, 
P.  A.  F.  A..  1897 

His  latest  series  of  “Mother  and  Child  ”  are  marked 
by  fluency  of  composition  both  in  the  lines  and  masses 
and  in  the  color  schemes.  *  *  *  They  have  an  air  of 

noble  sweetness,  serenity,  and  high  and  earnest  purpose, 
creating,  wherever  they  appear,  an  atmosphere  of  their 
own,  pure  and  elevating  as  that  of  the  upper  air 

Charles  H.  Caffin ,  American  Masters  of  Painting' 

10 —  Mother  and  Child 

Loaned  by  the  Pennsylvania  Academy  of 
the  Fine  Arts 

Cazin,  Jean  Charles 

Born,  Samer,  Pas-de-Calais,  France  :  died, 
Paris,  1900.  Studied  with  Lecoq  de  Boisbau- 
dran,  and  afterwards  with  the  Preraphaelite 
school  in  England 


2 


Like  Corot,  M.  Cazin  is  always  full  of  soul;  in 
unlieroic  and  even  familiar  subjects  he  gives  us  the 
impression  of  a  thoughtful,  serious,  and  yet  hopeful 
nature;  he  is  always  simple,  always  eloquent,  and 
always  sincere.  *  *  *  He  paints  men  that  he  has 
seen,  houses  that  exist,  trees  that  really  grow,  skies  that 
he  has  not  invented,  and  reeds  whose  sad  music  he  has 
overheard 

Theodore  Child ,  Art  and  Criticism 

11 —  The  Approaching  Storm 

Loaned  by  Mr.  Charles  Donnelly 

12 —  The  Village  Street 

Loaned  by  Mr.  E.  M.  O’Neill 

13 —  Starlight  Night 

Loaned  by  Mr.  E.  Burgess  Warren 

14 —  The  Roadway 

Loaned  by  Mr.  Herman  H.  Westinghouse 
Chase,  William  Merritt,  New  York 

Born,  near  Indianapolis,  Franklin  County, 
Indiana,  1849.  Pupil  of  the  National  Academy 
of  Design,  New  York;  studied  under  Piloty, 
Munich.  Member  of  the  National  Academy  of 
Design  and  the  Society  of  American  Artists, 
New  York;  The  Secession,  Munich.  Honorable 
Mention,  Salon,  Paris,  1881.  Medals:  Munich, 
1883;  Silver  Medal,  1889;  Member  of  Inter¬ 
national  Jury  of  Award,  World’s  Columbian 
Exposition,  Chicago,  1893;  First  Prize,  Cleve¬ 
land  Art  Association,  1894;  Shaw  Prize,  Societ) 
of  American  Artists,  1895;  Gold  Medal,  Pan- 
American  Exposition,  1901 


Place  him  before  a  palace  or  a  market  stall  in  Haar¬ 
lem,  Holland,  or  in  Harlem,  New  York,  and  he  will  show 
us  that  light  is  everywhere,  and  that  nature  is  always 
infinitely  interesting.  *  *  *  He  is  a  technician  of  the 
breed  of  Hals  and  Velasquez;  a  painter,  in  a  word 

Kenyon  Cox ,  Harper’s  Monthly  Magazine , 
March ,  1889 

As  a  Velasquez  Infanta,  sheathed  in  her  stiff  crino¬ 
lined  skirt,  is  ever  a  flower  of  childhood,  so  this  little 
maiden  *  *  *  is  at  first  glance  the  motive  of  the 

canvas,  the  blossom  of  the  plant.  *  *  *  No  essential 
detail  of  characterization  has  been  sacrificed  to  tech¬ 
nique  ;  the  epitome  of  childhood  is  there 

Ernest  Knaufft,  The  Studio,  December,  1900 

15 —  Port  of  Antwerp 

Loaned  by  Mr.  John  Caldwell 

16 —  The  Infanta 

Loaned  by  Mr.  Henry  Kirke  Porter 

Constable,  John 

Born,  East  Bergholt,  England,  1776:  died, 
London,  1837.  Pupil  of  the  Royal  Academy, 
London 

I11  1819  Constable  was  elected  an  Associate  of  the 
Royal  Academy.  Up  to  this  period  the  most  important 
pictures  he  had  produced  were  Dedham  Vale  and  A 
Church  Porch;  Flatford  Mill,  Boat  Building,  Cottage 
in  a  Cornfield.  This  is  the  period  of  Constable’s  most 
perfect  art 

George  M.  Brock- Arnold,  The  Great  Artists 


Of  all  pictures  that  ever  were  painted,  Constable’s 
pictures  are  the  most  thoroughly  and  purely  rural.  He 
painted  the  crops  and  the  weather,  and  windmills  that 


would  turn  round,  and  water  mills  that  could  be 
tenanted,  and  canals  with  locks  and  barges  that  were 
good  for  their  rough  service.  Even  in  his  very  manner 
of  work,  so  utterly  original  that  there  is  no  precedent 
for  it  in  any  former  style  of  painting,  there  was  a 
strong  and  profound  harmony  with  the  rusticity  of  the 
painter’s  heart 

Philip  Gilbert  Hamcrton .  Portfolio  Papers 

17 —  Dedham  Vale 

18 —  Farm  at  Cheshire 

Nos.  17,  18  loaned  by  the  A.  M.  Byers  Estate 

19 —  Mrs.  Pulham 

Loaned  by  Mr.  George  A.  Hearn 


Corot,  Jean  Baptiste  Camille 

Born,  Paris,  1796:  d;ed,  Paris,  1875.  Pupil  of 
Michallon  and  Bertin.  His  official  successes 
were  few;  like  Balzac  and  Rousseau  and  Dumas, 
he  was  excluded  from  the  Institute 

If  I  remember  aright,  it  is  Cherbuliez  who  says  of 
Mozart  that  he  was  “  the  only  Athenian  who  ever  wrote 
music.”  The  phrase  is  a  good  one:  it  suggests  so 
happily  an  ideal  marriage  of  sentiment  with  style.  With 
the  substitution  of  landscape  for  music,  it  applies  as 
happily  to  Corot.  Corot  is  the  Mozart  of  landscape 

W.  E.  Henley ,  Vicivs  and  Reviews:  Art 


In  Rousseau  a  tree  is  a  proud,  toughlv  knotted  per¬ 
sonality,  a  noble,  self-conscious  creation;  in  Corot  it  is 
a  soft,  tremulous  being  rocking  in  the  fragrant  air,  in 
which  it  whispers  and  murmurs  of  love  and  joy.  *  *  * 
He  loved  morning  before  sunrise,  when  the  white  mists 
hover  over  pools  like  a  light  veil  of  gauze;  *  *  *  * 

but  he  had  a  passion  for  evening  which  was  almost 


greater;  he  loved  the  soit  vapors  which  gather  in  the 
gloom,  thickening  until  they  become  pale  grej'  velvet 
mantles,  as  peace  and  rest  descend  upon  the  earth  with 
the  drawing  on  of  night 

Richard  Muther ,  History  of  Modern  Painting 

20 —  Danse  des  Nymphes 

21 —  Danse  des  Nymphes 

22—  Figure  in  Boat  in  Pond 

23 —  Souvenir  of  Daricia 

Nos.  20,  21,  22,  23  loaned  by  the  A.  M. 
Byers  Estate 

24 —  Landscape  with  Cattle 

Loaned  by  Mr.  John  Caldwell 

25 —  Evening:  Antique  Dance 

Loaned  by  the  Jay  Gould  Estate 

26 —  Matinee:  Ville  d’Avray 

Loaned  by  Mr.  Lawrence  C.  Phipps 

27 —  The  Ferry  (Le  Bac) 

Loaned  by  Mr.  D.  T.  Watson 

Cottbt,  Charles,  Paris 

Born,  Puy,  Haute-Loire,  France,  1863.  Mem¬ 
ber  of  the  Soci6t£  Nationale  des  Beaux- Arts; 
of  the  Secession,  Vienna  and  Berlin.  Chevalier 
of  the  Legion  of  Honor.  Gold  Medals:  Exposi¬ 
tion  Universelle,  Paris,  1900;  Dresden,  1901 

This  Pays  de  la  Mer,  of  which  he  became  the  moving 
and  conscientious  interpreter,  this  Breton  coast  whose 


tragic  aspects  and  whose  simpler  phases  he  excels  in 
portraying — these  belong  to  him  by  right,  for  he  has 
made  them  his  by  his  acuteness  of  vision  and  his  honest 
powers  of  observation.  He  has  discovered  and  placed  in 
bold  relief  all  there  is  of  heroic  grandeur  in  these  types 
and  these  landscapes,  and  that  with  the  simplicity 
proper  to  an  artist  of  high  race 

Gabriel  Mourey ,  The  Studio ,  January,  1899 


28 —  Le  Pardon 

Loaned  by  Mr.  Henry  Kirke  Porter 

Couture,  Thomas 

Born,  Senlis,  Oise,  France,  1815:  died,  Vil- 
liers  le  Bel,  France,  1879.  Pupil  of  Gros,  and 
of  Paul  Delaroche.  Although  he  won  the  2d 
Grand  Prix  in  1837,  and  attracted  attention  by 
several  able  pictures  in  the  course  of  the  next 
decade,  it  was  not  until  1847  that  Couture  be¬ 
came  celebrated  by  his  Romans  of  the  De¬ 
cadence,  a  picture  which  in  the  united  qualities 
of  composition,  conception,  drawing,  and  color, 
has  few  if  any  rivals  in  modern  art.  Medals: 
3d  class,  1844;  1st  class,  1847  and  1855;  Legion 
of  Honor,  1848 

To  the  able  design  early  approved  by  Gros,  he  added 
a  charming  color,  which  is  rich  and  golden  in  general; 
*  *  *  a  technique  that  for  quality  has  rarely  been 
surpassed;  and  a  composition  which  enabled  him,  like 
David  and  Horace  Vernet,  to  throw  large  numbers  of 
figures  into  pleasing  relation  —  to  make  a  picture 

C,  H.  Stranahan,  A  History  of  French  Painting 

29 —  Head  of  a  French  Grenadier 

Loaned  by  Messrs.  Cottier  and  Company 


Dagnan-Bouveret,  Pascal  Adolphe  Jean, 

Paris 

Born,  Paris,  1852.  Pupil  of  G£rome.  His  first 
recompense  was  a  third  medal  at  the  Salon  of 
1878  for  “  Manon  Lescaut.”  At  the  Salon  of 
1880  for  *  ‘  The  Accident  ’  ’  he  was  awarded  a 
medal  of  the  first  class.  He  was  made  Chevalier 
of  the  Legion  of  Honor  in  1885,  received  the 
Medal  of  Honor  in  painting  at  the  Salon  of 
1889  for  his  picture,  “Breton  Women  at  the 
Pardon,”  and  at  the  Exposition  Universelle 
the  same  year  was  awarded  one  of  the  grand 
prizes  for  the  collective  exhibition  of  his  works. 
In  1892  he  was  made  Officer  of  the  Legion  of 
Honor.  He  has  received  gold  medals  at  inter¬ 
national  exhibitions  at  Munich,  Vienna,  and 
Ghent,  and  is  a  member  of  the  fine  arts  acade¬ 
mies  of  Munich,  Stockholm,  and  Berlin 

In  all  M.  Dagnan’s  pictures  we  find  three  pre-eminent 
qualities:  *  *  *  sincere  observation,  logical  execution 
and  emancipation  from  academic  influence 

John  C.  Van  Dyke ,  Art  and  Criticism 

30—  Madonna  of  the  Rose 

Loaned  by  Mr.  Thomas  Shields  Clarke 

31 —  Girl  with  Oranges 

Loaned  by  Mr.  Henry  Kirke  Porter 


Daubigny,  Charles  FRAN901S 

Born,  Paris,  1817:  died,  Paris,  1878.  Pupil  of 
Paul  Delaroclie.  Medals:  2d  class,.  1848;  1st 


class,  1853;  3d  class,  1855;  1st  class,  1857,  1859, 
and  1869;  Legion  of  Honor,  1859;  Officer,  1874 

Nobody  better  than  he  gives  to  a  landscape  its  just 
accent  and  its  true  character.  By  these  very  rare  quali¬ 
ties,  he  is  of  the  family  of  the  Masters:  like  them  he  has 
the  gift  of  breadth  of  execution,  prime sautitre,  without 
emphasis,  but  without  hesitation 

Theodore  Pelloquet,  Dictionnaire  de  poche  des  artistes 
contemporains,  i8j8 

Daubigny  is  pre-eminently  the  poet  of  the  river. 
Who  has  painted  its  slow  current  gliding  stealthily 
under  the  shadows  of  rocky  and  wooded  shores,  as  he 
has?  Who  has  so  felt  the  beauty  of  the  velvet  dark 
pool  where  the  stream  loiters  in  the  morning  coolness 
of  its  covers?  Who  has  looked  with  such  reverent  and 
loving  eyes  upon  its  flashing  splendors  beneath  the 
fading  light  of  evening?  Who  has  so  exquisitely  sug¬ 
gested  the  river’s  mysteries,  or  so  nobly  interpreted  the 
majestic  seaward  flow  of  its  flood?  He  has  given  to  the 
Oise  a  fame  that  will  extend  as  far  as  the  frontiers  of 
art  extend 

William  Howe  Downes,  Twelve  Great  Artists 

32  —  Le  Ru  Valmondois 

33 —  Landscape 

34 —  Solitude 

Nos.  32,  33,  34  loaned  by  the  A.  M.  Byers 
Estate 

35 —  The  Open  Sea 

Loaned  by  Messrs.  Cottier  and  Company 

36 —  Late  Afternoon 

Loaned  by  Mr.  Charles  Donnelly 

37 —  Le  Moulin  des  Goebelles 

Loaned  by  Mr.  William  L.  Elkins 


38 —  Scene  on  the  River  Oise 

Loaned  by  Mr.  Alexander  R.  Peacock 

39 —  Morning  on  the  Oise 

(Salon  picture  of  1886) 

Loaned  by  Mr.  E.  Burgess  Warren 

Decamps,  Alexandre  Gabriel 

Born,  Paris,  1803:  died,  Fontainebleau,  1860. 
Pupil  of  Abel  de  Pujol,  David  and  Ingres 

He  had  a  deep  pathos  and  poetry,  and  was  profoundly 
moved  by  a  certain  kind  of  roughness  and  wildness  in 
nature  and  in  men;  he  was  a  powerful  and  masterly 
colorist.  *  *  *  He  had  real  genius,  and  saw  nature 
for  himself 

Philip  Gilbert  Hamer  ton.  Contemporary  French 
Painters 

He  was  hardly  one  of  the  paladins  of  Romanticism ;  but 
he  bore  no  inconspicuous  part  in  the  battle,  and  his 
influence  was  good  in  type  and  considerable  in  degree 

W.  E.  Henley,  A  Century  of  Artists 

40 —  Dogs  and  Children 

Loaned  by  Mr.  D.  T.  Watson 

Degas,  Hilaire  Germain  Edgar,  Paris 

Born,  Paris,  1834.  A  pupil  of  Lamothe,  M. 
Degas  entered  the  Ecole  des  Beaux-Arts  in 
1855. 

Two  influences  were  destined  to  have  a  profound 
effect  on  the  artist’s  work  and  career.  First,  the 
friendship  and  principles  of  Manet;  secondly,  the  Art 
of  Japan 

Rose  G.  Kingsley,  A  History  of  French  Art 


It  is  only  in  literature  that  Degas  has  a  parallel.  If 
a  comparison  between  them  be  at  all  possible,  it  might 
be  said  that  his  style  in  many  ways  recalls  that  of  the 
brothers  de  Goncourt.  As  these  have  enriched  their 
language  with  a  new  vocabulary  for  the  expressions  of 
new  emotions,  Degas  has  made  for  himself  a  new  tech¬ 
nique.  *  *  *  He  is  amongst  the  most  delicate  and 
refined  artists  of  the  century 

Richard  Muther ,  History  of  Modern  Painting 


41 —  The  Dancing  Lesson 

Loaned  by  Mr.  A.  J.  Cassatt 

42 —  Race  Horses 
43  -Race  Horses 
44— Ballet  Dancers 

Nos.  42,  43,  44  loaned  by  Messrs.  Durand- 
Ruel  and  Company 


Delacroix,  Ferdinand  Victor  Eugene 

Born,  Charenton-St. -Maurice,  near  Paris,  1799: 
died,  Paris,  1863.  Legion  of  Honor,  1831; 
Officer,  1846;  Commander,  1855;  Member  of 
the  Institute,  1857 

What  Delacroix  did  was  to  express  the  spirit,  the 
tendencies,  the  ideals,  the  passions,  the  weaknesses  of 
a  new  age  in  terms  so  novel  and  forcible  as  to  be  abso¬ 
lutely  appropriate.  *  *  *  His  invention  is  inexhaust¬ 
ible  ;  his  capacity  of  treatment  may  be  compared  with 
that  of  Hugo  in  words  and  with  that  of  Berlioz  in  music 

W.  E.  Henley,  Views  and  Reviews:  Art 


45 — The  Signal 

Loaned  by  the  A.  M.  Byers  Estate 


Diaz  De  La  Pe^a,  Narcisse  Virgilio 

Born,  Bordeaux,  1808:  died,  Mentone,  1876. 
Medals:  3d  class,  1844;  2d  class,  1846;  1st 
class,  1848;  Legion  of  Honor,  1855 


Diaz  had  many  masters  —  Delacroix,  Correggio,  Mil¬ 
let,  Rousseau,  Prudhon  —  and  succumbed  to  many  in¬ 
fluences  in  turn.  But  if  he  followed,  it  was  only  that 
he  might  learn  to  lead;  if  he  copied,  it  was  the  more 
completely  to  express  himself.  His  master  qualities  are 
fancy  and  charm;  but  capricious  as  he  was,  and  en¬ 
chanting  as  he  never  failed  to  be,  he  was  a  devout  stu¬ 
dent  and  a  rare  observer  of  nature.  *  *  *  He  had  a 
touch  of  the  madness  of  genius,  or  that  madness  of  the 
sunshine  (of  which  his  old  companion  (Duprd)  speaks) 
would  certainly  have  escaped  him.  And  rightly  to 
express  his  ideas  and  sensations,  he  made  himself  a 
wonderful  vocabulary.  His  palette  was  composed  not 
of  common  pigments,  but  of  molten  jewels;  they  clash 
in  the  richest  chords,  they  sing  in  triumphant  unison, 
as  do  the  elements  of  music  in  a  scene  of  Berlioz.  *  *  * 
If  they  meant  nothing  they  would  still  be  delicious. 
But  beyond  them  is  Diaz  —  the  poet,  the  fantaisiste,  the 
artist,  and  that  makes  them  unique 

IV.  E.  Henley ,  A  Century  of  Artists 


46 —  The  Descent  of  the  Bohemians 

Loaned  by  Mr.  Charles  Donnelly 

47 —  The  Forest  of  Fontainebleau 

Loaned  by  Mr.  Johns  McCleave 

48 —  Landscape :  Fontainebleau 

Loaned  by  Mr.  Umerson  McMillin 

49 —  Boy  with  Dogs 

Loaned  by  Mr.  Lawrence  C.  Phipps 


50 — The  Three  Girls 


Loaned  by  Mr.  J.  M.  Schoonmaker 


Dupre,  Jules 

Born,  Nantes,  France,  1812:  died,  Isle  of  Adam, 
1889.  Medals:  2d  class,  1833  and  1867;  Legion 
of  Honor,  1849;  Officer,  1870 

Corot  called  him  “  the  Beethoven  of  Landscape.” 
And  this  is  especially  true  of  his  “  Marines.”  For  his 
sea  pieces  were  the  result  of  the  Franco- Prussian  War, 
when  he  was  shut  up  for  six  months  in  his  house  at 
Cayeux-sur-mer.  And  the  agony  of  his  country  seems 
suggested  in  the  noble  gravity  and  sadness  of  these 
pictures 

Rose  G.  Kingsley,  A  History  of  French  Art 

Duprd  and  Diaz  are  the  decorative  painters  of  the 
Fontainebleau  group.  They  are,  of  modern  painters, 
perhaps  the  nearest  in  spirit  to  the  old  masters,  pic- 
torially  speaking.  They  have  the  bel  air  and  belong  to 
the  aristocracy  of  the  painting  world 

IV.  C.  Brownell,  French  Art 

51 —  Marine 

Loaned  by  the  A.  M.  Byers  Estate 

52 —  The  Fisherman 

Loaned  by  Mr.  Lawrence  C.  Phipps 

Fortuny  y  Carbo,  Mariano  Jose  Marie  Ber¬ 
nardo 

Born,  Reus,  Catalonia,  Spain,  1838:  died,  Rome, 
1874.  Pupil  of  the  Academy  de  Bellas  Artes, 
Barcelona,  and  Claudio  Lorenzalez.  In  1857  he 
won  the  Prix  de  Rome  from  Spain,  and  from 


that  time  he  quickly  rose  to  fame.  Chevalier 
of  the  Order  of  Charles  III.  Diploma  to  the 
Memory  of  Deceased  Artists,  Exposition  Uni- 
verselle,  1878 


Fortuny  stands  for  all  that  is  technically  brilliant  in 
the  modern  art  of  painting;  he  founded  the  “  school  of 
the  hand,”  as  Yriarte  called  it;  he  was  the  father  of 
the  whole  brood  of  virtuosi  like  Zamacois,  Domingo, 
Madrazo,  Rico,  and  Boldini 

William  Howe  Downes ,  Twelve  Great  Artists 

The  name  which  has  been  oftenest  spoken  for  the 
past  four  months  in  the  world  of  art  is  surely  that  of 
Fortuny.  One  question  never  failed  when  artists  and 
amateurs  met  Have  you  seen  Fortuny’s  paintings? 
For  Fortuny  is  a  painter  *  *  *  marvelously  orig¬ 

inal,  of  finished  talent,  sure  of  himself 

M.  Thcophile  Gautier ,  May,  1 870 


53  -  Courtyard,  Alhambra 

Loaned  by  Mr.  Samuel  Untermyer 

Fromentin,  Eugene 

Born,  La  Rochelle,  1820:  died,  St.  Maurice, 
France,  1876.  Pupil  of  R&tnond  and  Cabat. 
Medals:  2d  class,  1849,  1857;  1st  class,  1859; 
Legion  of  Honor,  1859;  Officer,  1869 

One  of  the  most  attractive  personalities,  of  the  middle 
of  the  century,  with  the  twofold  gifts  of  writer  and 
painter.  Eugene  Fromentin  was  an  artist  to  the  core, 
and  whether  on  canvas  or  in  his  books,  it  is  always  the 
poet  who  speaks.  *  *  *  A  colorist  and  a  poet, 

Fromentin  rendered  all  the  moral  and  seductive  charm 
of  local  truth  combined  with  exquisite  harmony  and 


purity  in  the  three  silvery  notes  of  the  Sahel — white, 
blue  and  green 

Rose  G.  Kingsley ,  A  History  of  French  Art 


54 — Return  from  the  Fantasia 

Loaned  by  the  A.  M.  Byers  Estate 


Gainsborough,  Thomas,  R.  A. 

Born,  Sudbury,  England,  1727:  died,  London, 
1788.  Pupil  of  Gravelot,  St.  Martin’s  Lane 
Academy,  and  Frank  Hayman.  Was  one  of 
the  thirty-six  original  members  of  the  Royal 
Academy.  Sir  Joshua  Reynolds  observes  of 
him:  “Whether  he  most  excelled  in  portraits, 
landscapes,  or  fancy  pictures,  it  is  difficult  to 
determine,”  and  Ruskin  calls  him  “the  purist 
colorist  of  the  English  school  ’  ’ 

He  had  vastly  more  work  than  he  could  do;  Clive, 
Johnson,  Garrick,  Mrs.  Siddons,  Lady  Mary,  Richard¬ 
son,  Quin,  Burke,  Franklin  —  everybody  sat  to  him 

W.  E.  Henley ,  A  Century  of  Artists 

Art  with  no  common  gifts  her  Gainsborough  graced, 
Two  different  pencils  in  his  hand  she  placed ; 

‘This  shall  command,’  she  said,  1  with  certain  aim, 

A  perfect  semblance  of  the  human  frame; 

This,  lightly  sporting  on  the  village  green, 

Paint  the  wild  beauties  of  the  rural  scene’ 

A  Pindaric  Ode  on  Painting,  London ,  nt>8 

‘  ‘  If  ever  this  nation  should  produce  a  genius  sufficient  • 
to  acquire  to  us  the  honorable  distinction  of  an  English 
school,  the  name  of  Gainsborough  will  be  transmitted 
to  posterity  in  this  history  of  the  art,  among  the  first  of 
that  rising  name.”  This  opinion,  expressed  by  the 


President  of  the  Royal  Academy  (Sir  Joshua  Reynolds) 
within  a  few  months  of  the  death  of  his  great  brother 
artist;  and  now,  nearly  a  century  later,  the  splendid 
genius,  as  a  worthy  compeer  of  Hogarth,  Wilson  and 
Reynolds,  *  *  *  is  still  pointed  at  with  pride  by 

those  who  believe  in  the  existence  of  native  art 

George  Brock- Arnold,  Gainsborough 


55 —  David  Garrick 

56 —  Mrs.  Isabella  Kinloch 

57 —  Landscape  with  Cart 

58 —  Landscape 

Nos.  55,  56,  57,  58  loaned  by  the  A.  M. 
Byers  Estate 

59 —  Landscape 

Loaned  by  Senator  William  A.  Clark 

60 —  Countess  of  Harborough 

Loaned  by  Mr.  D.  T.  Watson 

Gerome,  Jean  Leon,  Paris 

Born,  Vesoul,  Haute-Saone,  1824.  Pupil  of 
Paul  Delaroche  and  Gleyre.  Medals:  3d  class, 
1847;  2d  class,  1848,  1855;  of  honor,  1867,  1874, 
1878;  for  sculpture,  1878;  Legion  of  Honor, 
1855;  Officer,  1867 ;  Commander,  1878;  Member 
of  the  Institute,  1865 

The  Christian  Martyrs,  the  Death  of  Caesar,  the 
Thumb  Reversed,  and  its  true  companion  piece,  The 
Gladiators  Saluting  Vitellius,  form  the  four  great 
masterpieces  of  composition,  invention,  and  erudition  of 
all  Gdrome’s  works.  In  the  Pollici  Verso,  *  *  *  the 
burly  Gaul  who  has  thrown  under  his  feet  the  lighter 


net-thrower  (Retiarius)  of  the  arena,  turns  to  ask  of  the 
emperor  and  the  spectators  if  he  shall  show  mercy  or 
slay.  Every  motif  of  the  composition,  every  factor  of 
the  entire  picture,  such  as  the  imperial  gesture  of  the 
burly  figure,  the  nervous,  despairing  clutch  of  the  out¬ 
stretched  hand  of  the  victim  appealing  for  mercy  to  the 
emperor  and  vestal  virgins,  has  intense  dramatic 
significance  and  force.  That  to  a  Roman  audience  it 
was  no  more  than  a  spectacle  of  the  theatre,  and  not  a 
scene  of  life  or  death  to  a  fellow  being,  the  artist  has 
well  expressed  by  all  the  indications  of  the  temper  of 
the  spectators.  This  finds  its  fullest  expression  in  the 
stolid  indifference  with  which  Domitian,  putting  a  fig  to 
his  mouth,  glances  from  the  gay  courtesan  at  his  side  to 
the  vestal  virgins,  and  they  with  emphatic  gesture, 
though  the  victim  is  even  then  subdued  and  earnestly 
stretching  forth  his  arm  in  appeal,  demand  the  slaying 
of  the  weaker 

C.  H.  Stranakan,  A  History  of  French  Painting 


Here  are  not  two,  but  three  majesties — the  lion,  the 
sun,  and  G6rome;  the  last  having  on  his  brow  the  flash 
of  a  triple  crown 

Wesley  Reid  Davis ,  Catalogue  of  Modern  Master¬ 
pieces  of  the  late  William  H.  Stewart ,  1898 


61 —  Pollici  Verso 

Loaned  by  Mrs.  Henry  C.  Potter 

62 —  The  Two  Majesties 

Loaned  by  Mr.  J.  M.  Schoonmaker 

Hals,  Frans,  the  elder 

Born,  Antwerp,  1584:  died,  Haarlem,  1666. 
Pupil  of  Karel  Van  Mander 


If,  I  say,  there  is  any  one  with  any  wish  to  be  a 
great  and  true  artist,  let  him  come  to  Haarlem  and 


study  these  truly  wonderful  works  of  an  artist  whose 
fame,  long  slumbering,  will  yet  receive  its  due,  and 
whose  works  will  hold  their  own  with  those  of  Titian,  of 
Velasquez,  of  Gainsborough,  and  of  Reynolds;  for  as  a 
portrait  painter,  Hals  is  on  a  level  with  these  four — in 
fact  he  may  be  called  the  Velasquez  of  the  North 

Lord  Ronald  Gower,  Handbook  National  Portrait 
Gallery 

Really  to  know  him  *  *  *  one  must  go  not  only 
to  Holland,  but  to  Haarlem.  Haarlem  is  Frans  Hals  as 
Parma  was  Correggio.  But  while  Correggio  has  almost 
faded  from  the  walls  where  he  revealed  himself,  Hals  is 
as  living,  as  fresh,  as  powerful  in  his  home  to-day  as 
when  his  models  walked  its  streets 

M.  G.  Van  Rensselaer,  Frans  Hals,  Century 
Magazine,  July ,  188s 

63 —  Portrait  of  a  Gentleman 

Loaned  by  the  A.  M.  Byers  Estate 

64 —  Portrait 

Loaned  by  M.  Knoedler  and  Company 

65—  The  Burgomaster 

Loaned  by  Mr.  Charles  M.  Schwab 

Harpignies,  Henri  Joseph,  Paris 

Born,  Valenciennes,  P'rance,  1819.  Pupil  of 
Achard.  Medals:  1866,  1868,  and  1869;  2d 
class,  1878;  Legion  of  Honor,  1875;  Officer, 
1883 

Born,  with  Courbet,  seven  years  after  Rousseau, 
*  *  *  Harpignies  worked  with  the  older  men  of  1830 
}uite  as  much  as  a  companion  and  fellow-laborer  as  a 
oupil  and  follower  *  *  *  and  without  him  the 


3 


renascence  of  art  in  our  century  had  wanted  a  character¬ 
istic  note 

R.  A.  M.  Stevenson ,  A  History  of  French  Art ,  Rose  G.  Kingsley 

66 —  Landscape 

Loaned  by  Mr.  John  G.  Holmes 

67 —  Souvenir  des  Bony  sur  Loire 

Loaned  by  Mr.  Lawrence  C.  Phipps 

Henner,  Jean  Jacques,  Paris 

Born,  Bernwiller,  Alsace,  1829.  Pupil  of  Droll¬ 
ing  and  Picot.  Won  the  Grand  Prix  de  Rome 
in  1858.  Medals:  3d  class,  1863, 1865,  and  1866; 
1st  class,  1878;  Legion  of  Honor,  1873;  Officer, 
1878 

The  analyst  does  not  exist  who  could  account  com¬ 
pletely  for  his  charm 

Frederick  Wed  more,  Jean  Jacques  Henner, 
The  Magazine  of  Art 

By  this  manner  of  painting  flesh  and  of  throwing 
light  upon  it,  Henner  has  won  for  himself  an  important 
place  in  modern  art 

Richard  Muthcr ,  History  of  Modern  Painting 

6S — A  Head 

Loaned  by  Mr.  William  N.  Frew 
69— A  Head 

Loaned  by  Mr.  George  T.  Oliver 

Hobbema,  Meyndert  (Minderhout) 

Born  at  Koeverden  or  at  Amsterdam  (?)  in 
1638 :  died  at  Amsterdam ;  buried  December  14, 


1709.  *  *  *  Formed  himself  under  the  influ¬ 
ence  of  Jacob  van  Ruisdael.  Much  neglected 
in  his  lifetime,  and  little  esteemed,  this  painter 
now  takes  rank  as  one  of  the  greatest  masters 
of  landscape  art,  thanks  to  the  initiative  of 
England,  where  nine-tenths  of  his  works  are 
to  be  found.  With  less  inventive  genius  and 
less  poetic  feeling  than  Ruisdael,  Hobbema 
surpassed  him  in  truth  to  atmospheric  effect, 
in  tone,  and  in  brilliancy  of  color.  These  qual¬ 
ities  give  a  magical  beauty  to  the  generally 
prosaic  scenes  which  he  habitually  treated 


Whither  does  he  go,  if  not  to  the  mills  of  Guelder- 
land,  mills  made  for  him,  around  which  he  has  lingered 
during  half  his  lifetime,  turning  always  to  a  new  aspect 
of  the  same  place,  a  new  revelation  of  inexhaustible 
nature?  You  recognize  them  from  having  seen  them  at 
the  Louvre,  roofs  tinted  red,  palings  worm-eaten  and 
water-worn,  the  shepherd  from  the  farm,  the  quiet 
stream  sleeping  in  the  shade  of  large  trees,  and  men 
with  red  caps  wandering  by  the  way.  How  often  has 
he  not  sat  there  waiting  for  the  sun  to  bring  him  the 
wished -for  effect,  forcing  himself  then  to  calculate  the 
exact  relationship  of  tones  until  his  hand  could  give  with 
strict  justice  each  detail  of  the  harmonious  1  ensemble  ’ 
which  nature  displayed  before  him!  Some  read  nature, 
some  listen  to  her :  Hobbema  reveals  her 

Leon  Lagrange ,  Gazette  des  Beaux- Arts 

70 — The  Watermill 

Loaned  by  the  Art  Institute  of  Chicago 
From  the  Demidoff  Collection 


Hogarth,  William 

Born,  London,  1697:  died,  London,  1764 


Holbein,  Van  Dyck  and  Lely  went  to  England  with 
talents  already  matured,  with  nothing  to  learn  from, 
and  everything  to  teach,  their  hosts;  but  they  founded 
no  school,  and  British  art  never  know  youth,  even  ado¬ 
lescence;  it  came  into  the  world  grave,  self  assured  and 
mature,  and  William  Hogarth  was  the  English  Giotto 

Theophile  Gautier,  Temple  Bar,  18O2 


What  Hogarth  did  we  hardly  require  nowadays  to 
remember  very  carefully,  because  his  works  are  house¬ 
hold  works,  but  it  behooves  us  still  to  keep  in  mind  what 
was  the  place  he  held,  for  the  passage  of  time  has  only 
made  his  place  more  eminent.  He  was  the  first  of 
English  genre  painters,  and  though  a  century  and  a 
half  has  passed  since  his  practice,  he  remains  the  great¬ 
est.  For  myself  I  hardly  know  where  I  may  light  upon 
another  instance  anywhere  in  which  an  endless  fertility 
and  ingenuity  of  invention  has  been  allied  with  tech¬ 
nical  powers  of  execution  so  sane  and  so  unerring  —  in 
which  gifts  of  the  dramatic  are  joined  so  completely  to 
those  of  the  pure  painter 

Frederick  Wedmore,  Masters  of  Genre  Painting 


71 — Peg  Woffington 

Loaned  by  Mr.  George  A.  Hearn 


Hoppner,  John,  R.  A. 

Born,  Loudon,  1758:  died,  London,  1810. 
Pupil  of  the  Royal  Academy,  London.  Became 
an  A.  R.  A.,  1793,  and R.  A.  in  1795.  Published, 
1803,  “A  Select  Series  of  Portraits  of  Ladies  of 
Rank  and  Fashion,”  painted  by  him 

Hoppner  was  no  blind  worshiper  of  the  gods  of 
others;  his  chief  deitv  was  nature— nature  exalted  and 


refined;  he  sought  for  elegant  simplicity  of  form  and 
poetic  loftiness  of  sentiment 

Allan  Cunningham.  The  Lives  of  the  Most  Eminent 
British  Painters 

72 —  Portrait  of  Miss  Burrell 

Loaned  by  Mr.  Charles  M.  Schwab 

Inness,  George,  N.  A. 

Born,  Newburg,  New  York,  1825:  died,  Bridge 
of  Allan,  Scotland,  1894.  Pupil  of  Regis 
Gignoux.  Elected  an  A.  N.  A.,  1853,  and  N. 
A.,  1868 

Had  his  medium  been  words,  he  would  have  been 
nearer  to  Wordsworth  than  to  Tennyson;  satisfied  to 
interpret  nature  rather  than  to  use  her  for  the  settling 
of  some  thought  of  his  own.  In  this  way  he  was  much 
nearer  to  Rousseau  and  Daubigny  than  to  Corot 

Charles  H.  Coffin.  American  Masters  of  Painting 

For  there  is  in  all  his  characteristic-  works  a  rich, 
full,  pulsing  life,  which  testifies  to  his  wonderful  power 
of  infusing  his  own  exuberant  spirit  into  the  inanimate 
canvas  and  pigments,  and  making  them  breathe  the 
very  breath  of  nature 

William  Hoive  Downes.  Twelve  Great  Artists 

73 —  In  the  Valley 

Loaned  by  Mr.  Emerson  McMillin 

74—  The  Coming  Shower 

Loaned  by  Mrs.  William  Thaw 

75 —  The  Clouded  Sun 

Carnegie  Institute  Permanent  Collection 

Isabey,  Eugene  Louis  Gabriel 

Born,  Paris,  1804:  died,  Paris,  1886.  Son  and 


pupil  of  Jean  Baptiste  Isabey.  Medals:  1st 
class,  1824,  1827,  1855;  Legion  of  Honor,  1832; 
Officer,  1852 

Th£ophile  Gautier  summarizes  his  qualities  thus :  He 
has  a  warm  color,  a  sparkling  faculty,  *  *  *  his 

smallest  sketch,  his  roughest  design,  reveals  the  true 
artist  and  has  no  need  of  a  name  to  be  recognized; 
every  brush  stroke  is  a  signature.  He  is  original,  and 
creates  a  microcosm  of  all  his  pieces  in  which  he  displays 
his  talent 

76 —  Port  of  Honfleur 

Loaned  by  Mr.  John  Caldwell 

77 —  Country  Tavern 

Loaned  by  Senator  William  A.  Clark 

Israels,  Josef,  The  Hague 

Born,  Groningen,  Holland,  1824.  Studied  at 
Amsterdam  under  Pienemann  and  in  the  studio 
of  Cornelius  Kruseman,  and  under  Henri  Schef¬ 
fer  and  Picot.  Medals:  Paris,  3d  class,  1867; 
1st  class,  1878;  Chevalier  of  the  Legion  of 
Honor,  1867;  Officer,  1878;  Order  of  Leopold 

Amongst  the  moderns  Israels  is  one  of  the  greatest 
and  most  powerful  of  painters,  whilst  he  is,  at  the  same 
time,  a  profound  and  tender  poet.  With  a  few  strokes 
he  has  the  secret  of  rendering  the  moist  atmosphere  and 
the  tender  notes  of  the  sky.  In  him  is  the  embodied 
strength  of  modern  Holland 

Richard  Muther,  History  of  Modern  Painting 

Israels’  touch  makes  what  is  ugly  appear  lovely. 
*  *  *  He  gives  to  ordinary  matters  a  deep  interest 
and  a  rare  charm  to  what  is  commonplace. 

y.  de  Mcester ,  Dutch  Painters  of  the  Nineteenth 
Century,  Max  Rooses 


78 —  Landscape  with  Figures 

Loaned  by  Mr.  George  A.  Hearn 

79 —  The  Mother  and  Child 

Loaned  by  Mr.  John  G.  Johnson 

80—  The  Wide,  Wide  Sea 

Loaned  by  Mr.  James  B.  Laughlin 

Jacque,  Charles  I^mile 

Born,  Paris,  1813:  died,  1894.  Medals:  3d 
class,  1861,  1863,  1864;  Chevalier  of  the  Legion 
of  Honor,  1867 

Why  have  Charles  Jacque’s  works  such  a  powerful 
charm?  It  is  because  they  always  show  us  things  or 
persons  such  as  they  are  in  nature;  because  he  studies 
them  in  the  course  of  their  usual  life  and  avocations ; 
and  because  this  sincerity  carries  us  without  effort  to 
the  scene  that  he  chooses  to  represent 

Rene  Menards  French  Artists  of  the  Present  Day 

81 —  An  Approaching  Storm 

Loaned  by  Mr.  George  M.  Laughlin 

82 —  Sheep :  Edge  of  the  Forest 

Loaned  by  Messrs. M.Knoedler  and  Company 

83 —  Flock  at  Fontainebleau 

Loaned  by  Mr.  D.  T.  Watson 

Kneller,  Sir  Godfrey 

Born,  Liibeck,  Germany,  1646:  died,  Twicken¬ 
ham,  England,  1723.  Reputed  to  have  studied 


under  Rembrandt  and  Ferdinand  Bol  at  Amster¬ 
dam,  and  in  Rome  under  Carlo  Maratta  and 
Berlini(?).  In  1674  he  went  to  England,  and 
received  such  a  flattering  reception  from  Charles 
II.  that  he  determined  to  remain  there.  After 
the  death  of  Sir  Peter  Lely  he  was  made  court - 
painter,  and  he  received  equal  favor  from  James 
II.,  William  III.,  who  knighted  him,  Queen 
Anne,  and  George  I.,  who  made  him  a  baronet 


That  he  possessed  powers  of  a  high  order  is  admitted 
by  his  severest  critics,  for  some  of  his  best  portraits,  as 
those  of  Newton  and  Dryden,  are  painted  in  a  masterly 
manner,  and  had  he  lived  in  a  country  where  his  services 
would  have  been  rendered  according  to  his  merits,  his 
name  would  have  shone  among  the  greatest  portrait 
painters 

Spooner’s  Dictionary  of  Painters ,  Engravers, 
Sculptors  and  Architects 


Such  are  thy  pictures,  Kneller!  such  thy  skill, 

That  nature  seems  obedient  to  thy  will, 

Comes  out  and  meets  thy  pencil  in  the  draught, 

Lives  there,  and  wants  but  words  to  speak  the  thought 

John  Dryden 


84 — Frances  Bennet,  Countess  of  Salisbury 
Loaned  by  Mr.  R.  Hall  McCormick 

Lawrence,  Sir  Thomas,  P.  R.  A. 

Born,  Bristol,  England,  1769:  died,  London, 
1825.  Pupil  of  the  Royal  Academy.  Became 
A.  R.  A.,  1791,  R.  A.,  1794;  knighted  by 
George  IV.  in  1815;  President  of  the  Royal 
Academy,  succeeding  Benjamin  West,  1820 


One  age  of  the  great  men,  and  the  courtly  beauties 
of  England,  will  live  to  posterity  on  the  canvas  of 
Reynolds.  Another  will  do  so  on  that  of  Lawrence 

Allan  Cunningham ,  The  Lives  of  the  Most  Eminent 
British  Painters 

85 —  Portrait  of  Fanny  Kemble 

Loaned  by  Mr.  George  A.  Hearn 

86—  The  Augustine  Children 

Loaned  by  Mr.  Joseph  Jefferson 

Lenbach,  Franz  von,  Munich 

Born,  Schrobenhausen,  Bavaria,  1836.  Pupil  of 
Munich  Academy  and  of  Grade,  then  of  Piloty, 
whom  in  1858  he  accompanied  to  Rome. 
Medals:  Paris,  3d  class,  1867;  Gold,  Munich, 
1869;  Spanish  Order  of  Charles,  1869;  1st  class, 
Paris,  1875;  Munich,  1879;  Vienna,  1882 

Some  of  his  Bismarck  portraits,  as  well  as  his  last 
pictures  of  the  old  Emperor  Wilhelm,  will  always  stand 
amongst  the  greatest  achievements  of  the  century  in 
portraiture.  “  Bien  conprendre  son  hommes,”  says 
Biirger-Thor6,  ‘  ‘  est  la  premiere  quality  du  portraitiste,  ’  ’ 
and  this  faculty  of  the  gifted  psychologist  has  made 
Lenbach  the  historian  elect  of  a  great  period,  the  active 
recorder  of  a  mighty  era 

Richard  Muther,  History  of  Modern  Painting 


87 — Bismarck 

Loaned  by  Mr.  Charles  M.  Schwab 

Lerolle,  Henry 

Born,  Paris,  1851  (?).  Pupil  of  Lamothe. 


Medals:  Salon,  Paris,  3d  class,  1879;  1st  class, 
1880;  Legion  of  Honor,  1889;  Gold  Medal, 
Exposition  Universelle,  1900 

He  paints  broadly  and  solidly.  *  *  *  Lately, 

somewhat  in  the  style  of  Millet,  he  has  taken  subjects 
from  peasant  life.  His  “In  the  Country,”  of  1880,  is 
in  the  Luxembourg 

C.  If.  Stranahan ,  A  History  of  French  Painting 


88—  In  the  Country 

Loaned  by  Mr.  Charles  Donnelly 

89 —  Seeking  a  New  Place 

90 —  Shepherdess 

91 —  By  the  River 


Nos.  89,  90,  91  loaned  by  Mr  .R.M.  O’Neill 


Lkkrmitte,  Leon  Augustin,  Paris 

Born,  Mont-Saint-Pere,  France,  1844.  Pupil 
of  Lecoq  de  Boisbaudran.  Medals:  3d  class, 
1874;  2d  class,  1880;  Chevalier  of  the  Legion 
of  Honor,  1884;  Grand  Prix,  1889,  Exposition 
Universelle;  Officer,  Legion  of  Honor,  1894 

The  works  of  Lhermitte  are  pathetic  but  not  melan¬ 
choly,  sombre  but  not  gloomy,  and  there  is  about  them 
all  a  dignity  and  grandeur  which  might,  in  certain 
cases,  be  characterized  as  almost  classic.  The  predomi¬ 
nating  quality  of  everything  from  his  hand  is  sincerity, 
but  he  reverences  beauty  as  well  as  truth,  and  recognizes 
with  rare  intuition  all  that  is  noblest  and  best  in  human 
nature 

Mrs.  Arthur  Bell,  Representative  Painters  of  the 
Nineteenth  Century 


Lhermitte  displays  the  peasant  in  all  rusticity.  He 
knows  the  country  and  the  labors  of  the  field  which 
make  the  hands  horny  and  the  face  brown 

Richard.  Mather,  History  of  Modern  Painting r 

92 — A  Young  Harvester 

Loaned  by  Mr.  John  G.  Holmes 


Maes  (Maas),  Nicholaas 

Born,  Dordrecht,  1632,  the  year  in  which  Rem¬ 
brandt  produced  his  famous  ‘  ‘  Anatomical 
Lesson;”  died,  Amsterdam,  1693.  Pupil  of 
Rembrandt,  and  distinguished  from  most  of 
the  Dutch  genre  painters  by  his  richer  coloring 

What  Turner,  Constable,  De  Wint  did  for  the 
country— in  revealing  beauty  and  interest  hidden  till 
they  pourtrayed  them — De  Hooch  and  Van  derMeerand 
Nicholas  Maes  did  for  the  home 

Frederick  Wedmore ,  Masters  of  Genre  Painting 

A  picturesque  interior,  walls  dashed  with  light  and 
shadow,  a  figure  or  two,  rich  in  color,  and  a  poetic 
sentiment  of  quiet  home  life,  were  things  that  evidently 
appealed  to  him.  It  was  a  genre  of  his  own,  and  he 
painted  it  best  because  he  loved  it  best.  *  *  *  How 
well  he  felt  the  simple  truth  and  tender  pathos  of 
humble  life 

John  C.  Van  Dyke,  Old  Dutch  and  Flemish  Masters 
93 — The  Lacemaker 

Loaned  by  the  A.  M.  Byers  Estate 

Manet,  Edouard 

Born,  Paris,  1833:  died  there,  1883.  Pupil  of 
Couture.  He  was  founder  and  head  of  the 
Impressionist  School 


It  has  taken  him  years  to  force  open  the  doors  of  the 
Salon,  but  to-day  his  name  shines  in  letters  of  gold 
upon  the  fafade  of  the  Ecole  des  Beaux-Arts  as  that  of 
the  man  who  has  spoken  the  most  decisive  final  utter¬ 
ance  on  the  behalf  of  the  liberation  of  modern  art. 
*  *  *  In  his  “Angels  at  the  Tomb  of  Christ”  he 
has  sought,  as  little  as  did  Velasquez  in  his  picture  of 
the  Epiphany,  to  introduce  any  trace  of  heavenly 
expression  into  the  faces,  but  as  a  piece  of  painting  it 
takes  its  place  amongst  the  best  religious  pictures  of  the 
century 

Richard  Muther ,  History  of  Modern  Painting 

94 — Angels  at  the  Tomb  of  Christ 

Loaned  by  Messrs.  Durand -Ruel  and  Com¬ 
pany 


Maris,  Jacobus 

Born,  The  Hague,  1837 :  died,  The  Hague,  1899. 
Pupil  of  The  Hague  Academy,  then  of  Stroebel 
and  Hubertus  van  Ho.ve,  whom  he  followed 
to  Antwerp,  where  he  became  a  pupil  of  De 
Keyser  and  of  Van  Lerius;  went  to  Paris,  1866, 
studying  under  Hubert.  Honorable  Mention, 
Salon,  Paris,  1884;  Gold  Medal,  Exposition 
Universelle,  1889 

None  since  Constable,  the  ancestor  with  whom  to  my 
mind  he  has  most  in  common,  has  rendered  clouds — 
the  mass  and  the  gait  of  them,  the  shadows  and  the  light, 
the  mystery  and  the  wonder  and  the  beauty — with  such 
an  insight  into  essentials,  and  such  a  command  of 
appropriate  and  moving  terms  as  Jacobus  Maris.  He 
paints  them  *  *  *  full  Qf  the  daylight  and  the 

wind,  menacing  with  storm,  or  charged  with  the  benedic¬ 
tion  of  the  rain;  and  they  look  upon  you  from  this  can¬ 
vas  like  the  living  children  of  the  weather  that  they  are 

IV.  E.  Henley ,  Views  and  Reviews:  Art 


95 —  Amsterdam 

Loaned  by  Mr.  William  L.  Elkins 

96 —  The  Bridge 

Loaned  by  Mr.  John  G.  Johnson 

97 —  Canal  and  Buildings:  Holland 

Loaned  by  Mr.  Alexander  R.  Peacock 


Martin,  Homer  Dodge,  N.  A. 

Born,  Albany,  N.  Y.,  1836:  died,  St.  Paul, 
Minn.,  1897.  Pupil  of  William  Hart.  Elected 
A.  N.  A.  1868,  and  N.  A.,  1875.  Member  of 
the  Society  of  American  Artists 

In  that  beautiful  “Adirondack  Scenery,”  with  its 
waves  of  brilliant  foliage  rolling  between  the  brow,  on 
which  wre  feel  ourselves  standing,  and  the  distant  cliffs 
of  mountains,  what  exuberance  of  spiritual  joy!  In  his 
masterpieces  there  is  the  evidence  of  a  great  mind,  for 
the  time  being  unreservedly  consecrated  to  great  ends, 
and  expressing  itself  in  an  imagery  of  grandeur  and 
enduring  suggestiveness.  To  recognize  these  qualities 
is  to  rank  him  highest  of  all  the  poet-painters  of 
American  landscape 

Charles  H.  Caffin ,  American  Masters  of  Painting 


98 — Adirondack  Scenery 

Loaned  by  Mr  Samuel  Untermyer 

Mauve,  Anton 

Born,  Zaandam,  Holland,  1838:  died,  Arnhem, 
1888.  Pupil  of  Pieter  Frederick  Van  Os. 
Member  of  the  Dutch  Society  of  Arts  and 


Sciences  and  the  Soci6t£  des  Aquarellistes 
Beiges,  and  a  Knight  of  the  Order  of  Leopold 


And  when  shall  we  find  another  Mauve  ?  The  void 
he  has  left  behind  will  probably  never  be  filled.  *  *  * 

I  have  lost  a  friend,  but  the  country  has  lost  an  artist 

Joseph  Israels ,  Dutch  Artists  of  the  Nineteenth 
Century,  Max  Rooses 


99 — Over  the  Sand  Dunes 

Loaned  by  Mr.  John  Caldwell 

100 —  The  Woodcutters 

Loaned  by  Mr.  Joseph  Jefferson 

101 —  Near  the  Journey’s  End 

Loaned  by  Mr.  Alexander  R.  Peacock 


Max,  Cornelius  Gabriel,  Munich 

Born,  Prague,  Bohemia,  1840.  Pupil  of  the 
Prague  Academy  under  Engerth,  1854-58,  then 
for  three  years  of  Vienna  Academy  under  Blaas, 
Wiirzunger,  Rubens,  Mayer,  and  finally  in 
Munich  of  Piloty,  1S63-67.  Honorary  Member 
of  Munich  Academy.  Gold  Medals  in  Berlin 
and  Munich 

His  art  was  an  art  without  ancestry,  an  entirely 
personal  art;  something  which  no  one  had  before  Max, 
and  which  after  him  few  will  produce  any  more 

Richard  Muther,  History  of  Modern  Painting 

102 — A  Roman  Girl 

Loaned  by  Mr.  John  Caldwell 


Meissonier,  Jean  Louis  Ernest 

Born,  Lyons,  1815:  died,  Paris,  1891.  Pupil  of 
Cogniet,  and  was  made  a  member  of  the  Beaux - 
Arts  in  1861.  Medals:  3d  class,  1840;  2d  class, 
1841;  1st  class,  1843,  1848;  Chevalier  of  the 
Legion  of  Honor,  1846;  Officer,  1856;  Com¬ 
mander,  1867;  Grand  Officer,  1878;  Member  of 
the  Institute,  1861;  Munich  Academy,  1867; 
Honorary  Member  of  the  Royal  Academy, 
London,  and  other  academies.  He  first  made 
himself  known  as  an  illustrator  of  books,  but 
soon  began  to  paint  genre  pictures  on  a  small 
scale,  with  the  microscopic  detail  and  finish  for 
which  he  was  famous 


I  never  hesitate  about  scraping  out  the  work  of  days 
and  beginning  afresh,  so  as  to  satisfy  myself,  and  try 
to  do  better.  Ah!  that  “better”  which  one  feels  in 
one’s  soul,  and  without  which  no  true  artist  is  ever 
content 

Meissonier' s  Conversations 

Perfection  is  so  rare  in  this  world  that  when  we  find 
it  we  must  pause  and  pay  it  the  tribute  of  our  silent 
admiration.  It  is  easy  to  say  that  Meissonier  should 
have  put  in  this  and  omitted  that.  Had  he  painted  dif¬ 
ferently, he  would  have  been  some  one  else.  The  work  is 
faultless,  and  such  genius  as  he  showed  must  ever  com¬ 
mand  the  homage  of  those  who  know  by  experience  the 
supreme  difficulty  of  having  the  hand  materialize  the 
conception  of  the  mind 

William  Michael  Rossetti 

Of  all  the  celebrated  modern  painters  of  Europe 
*  *  *  Meissonier’s  personality  stands  out  as  the 

most  *  *  *  interesting  in  regard  to  painting,  both 
on  account  of  his  particular  method  and  process  of 


work,  and  because  of  his  wonderful  power,  conscien¬ 
tiousness,  and  respect  for  his  art 

Charles  Triarte ,  E.  Meissonier ,  Personal 
Recollections  and  Anecdotes 

103 — The  Standard  Bearer 

Loaned  by  Mr.  Henry  W.  Oliver 

Mettling,  Louis 

Born,  Dijon,  France,  1847.  Studied  at  the  Ecole 
des  Beaux-Arts,  Lyons,  and  with  Cabanel, 
Paris.  Honorable  Mention,  Salon,  Paris,  1888, 
and  at  the  Exposition  Universelle,  Paris,  1889. 
Member  of  the  Soci£t6  des  Artistes  Francais 

He  is  a  painter  pure  and  simple.  For  beauty,  human 
interest,  human  sentiment,  he  cares  little  or  nothing. 
But  he  is  keenly  alive  to  the  suggestiveness  of  light 
and  atmosphere,  the  pictorial  quality  of  facts.  *  *  * 
His  method  masterly,  his  style  of  a  sober  brilliance. 
A  modern  as  Velasquez  is  modern,  he  may  be  said  to 
derive  from  that  great  master,  and  to  be  not  unworthy 
his  descent 

W.  E.  Henley.  Memorial  Catalogue ,  French  and 
Dutch  Loan  Collection ,  Edinburgh,  i88b 


104 — Head  of  a  Boy 

Loaned  by  Messrs.  Cottier  and  Company 

Meyer,  Johann  Georg,  called  Meyer  von 
Bremen 

Born,  Bremen,  Germany,  1813 :  died,  Berlin,  1886. 
Pupil  of  the  Diisseldorf  Academy  under  Karl  Sohn 
and  Schadow.  Painted  Biblical  subjects,  after¬ 
wards  genre.  Member  of  the  Amsterdam  Acad- 


emy;  Order  of  Leopold;  Medal,  Centennial 
Exposition,  Philadelphia,  1876 

The  pictures  seem  to  belong  to  each  person  who  has 
looked  at  them,  because  they  appeal  to  all  hearts  and 
fix  themselves  in  all  memories 

Clara  Erskine  Clement ,  Artists  of  the  Nineteenth 
Century  and  Their  Works 


105 — Faggot  Gatherer 

Loaned  by  Mr.  Charles  Donnelly 

Millais,  Sir  John  Everett,  R.  A. 

Born,  Southampton,  England,  1829:  died,  1895. 
He  won  the  silver  medal  at  the  Royal  Academy 
in  1843,  and  the  gold  medal  in  1847.  In  1848, 
with  Holman  Hunt  and  D.  G.  Rossetti  and 
others,  he  founded  the  Association  which  was 
afterwards  known  as  the  Preraphaelite  Brother¬ 
hood.  He  became  an  A.  R.  A. ,  1854,  and  R.  A. , 
1863,  and  was  created  a  baronet  in  1885. 
Medals:  2d  class,  Paris,  1855;  Medal  of  Honor, 
1878,  in  which  year  he  was  made  an  Officer  of 
the  Legion  of  Honor,  and  was  chosen  a  mem¬ 
ber  of  the  Institute  of  France  in  1883.  He  was 
also  a  member  of  the  Academies  of  Edinburgh, 
Antwerp,  Madrid  and  Rome 

Only  a  worshipper  of  children,  with  the  most  abso¬ 
lute  sympathy  with  their  ways  and  habits,  could  have 
painted  pictures  as  persuasive  as  “Cherry  Ripe,’’  “A 
Waif,”  “  The  Princess  Elizabeth,”  and  that  long  series 
of  pretty  studies,  of  which  “  Perfect  Bliss,”  “Dropped 
From  the  Nest,”  “  Forbidden  Fruit  ”  and  “  Little  Mrs. 
Gamp  ”  may  be  quoted  as  types 

A.  L.  Bahlry,  Sir  John  Everett  Millais 


106 — Little  Mrs.  Gamp 

Loaned  by  Messrs.  M.  Knoedler  and  Com¬ 
pany 


Millet,  Jean  F"ran90is 

Born,  Greville,  France,  1814:  died,  Barbizon, 
1875.  Pupil  of  Moucbel  and  of  Langlois  in 
Cherbourg  and  of  Delaroche  in  Paris.  Medals : 
2d  class,  Paris,  1853,  1864;  1st  class,  1867; 
Legion  of  Honor,  1868.  “A  peasant  himself  in 
origin,  his  representations  of  peasant  life  were 
painted  with  simple,  earnest  feeling  and  a 
comprehension  of  its  pathos  such  as  no  other 
painter  has  reached” 

“  I  recognize,”  wrote  Millet  of  a  drawing  of  Michael 
Angelo’s  in  the  collection  at  the  Louvre,  “  that  the  man 
who  did  that  had  the  power  to  personify  in  a  single 
figure  all  human  good  and  all  human  evil.”  The 
reflection  is  exactly  descriptive,  on  a  narrower  scale,  of 
the  nature  of  Millet’s  own  capacity  and  of  the  object  of 
his  own  endeavor.  ‘‘  It  is  necessary  to  be  able  to  make 
what  is  trivial  serve  to  express  what  is  sublime,”  he 
said  on  one  occasion;  ‘‘One  must  grasp  the  infinite,” 
on  another,  and  these  two  utterances,  as  they  explain 
his  ambition,  may  be  held  to  describe  his  achievements 
also.  *  *  *  From  his  hillsides  and  darkling  expanses 
of  plain  he  speaks  with  the  very  voice  of  the  ground. 
In  a  solitary  figure  he  resumes  and  typifies  the  fortunes 
of  a  hundred  generations  of  patient  toil.  He  is  a 
Michael  Angelo  of  the  glebe;  and  his  shepherds  and 
his  herd -women  are  akin  in  dignity  and  grandeur  to 
the  prophets  and  sybils  of  the  Sistine  frescoes 

W.  E.  Henley,  Jean  Francois  Millet 

There  are  people  who  say,  I  see  no  charm  in  the 
country.  I  see  much  more  than  charm  —  I  see  infinite 
splendors,  but  none  the  less  I  see  down  there  in  the 
plain  the  steaming  horses  dragging  the  plough,  and  in 


a  rocky  corner  a  worn  out  man  whose  “ban!”  has  been 
heard  since  early  morning,  and  who  stops  for  a  moment 
to  straighten  himself  and  take  breath 

Extracts  from  the  Letters  of  Jean  Francois  Millet 


107—  The  Milk  Carrier 

Loaned  by  Mr.  Charles  M.  Schwab 

108 —  Returning  Home 

Loaned  by  Mr.  Samuel  Untermyer 

109—  Counting  the  Flock 

110 —  Country  Lane 

Nos.  109,  110,  loaned  by  Mr.  E.  Burgess 
Warren 

Monet,  Claude  Jean,  Paris 

Born,  Paris,  1849.  Pupil  of  Gleyre.  *  *  *  A 
legitimate  heir  in  his  passionate  sense  of  color 
of  the  great  Turner,  M.  Claude  Monet  has  gone 
further  in  his  analysis  of  color,  of  light,  of 
atmosphere,  than  any  other  member  of  the 
Impressionist  School.  He  paints  straight  from 
nature;  and  seing  nature  with  the  eye  of  the 
colorist  as  well  as  the  poet,  he  is  not  afraid 
to  find  in  nature  color  harmonies  hitherto 
hardly  noticed 

Rose  G.  Kingsley ,  A  History  of  French  Art 

Monet  is  subtle  in  his  own  way,  so  superbly  successful 
within  his  own  limits,  that  it  is  time  wasted  to  quarrel 
with  the  convention -steeped  philistine  who  refuses  to 
comprehend  even  his  point  of  view,  who  judges  the 
pictures  he  sees  by  the  pictures  he  has  seen.  He  has 


not  only  discovered  a  new  way  of  looking  at  nature,  but  j 
he  has  justified  it  in  a  thousand  particulars.  Concen¬ 
trated  as  his  attention  has  been  upon  the  effects  of  light  { 
and  atmosphere,  he  has  reproduced  an  infinity  of  ( 
nature’s  moods  that  are  charming  in  proportion  to  their 
transitoriness,  and  whose  fleeting  beauties  he  has  caught 
and  permanently  fixed 

IV.  C.  Brownell ,  French  Art 

111—  Belle  Isle:  Sunshine 

112 —  Dawn  at  Antibes 

Nos.  Ill,  112,  loaned  by  Mr.  William  H.  9 
Fuller 

Monticelli,  Adolphe 

Adolphe  Monticelli  was  born  in  1824  in  Mar¬ 
seilles.  He  was  grounded  in  art  by  the  local  \ 
master,  who  was  a  pupil  of  Ingres.  In  Paris,  ‘ 
however,  he  succumbed  to  the  influence,  first  of 
Delacroix  and  then  of  Diaz,  and  was  converted  ! 
from  a  belief  in  line  to  the  fanaticism  of  color. 

.  Returning  to  Provence,  he  seems  to  have  filled 
the  Rhone  valley  with  legends  about  himself  and 
with  pictures  the  w'ork  of  his  hand;  but  he  j 
was  presently  obliged  to  go  again  to  Paris.  He 
was  driven  south  by  the  advance  of  the 
German  armies,  and,  after  crossing  France  on  I 
foot,  he  settled  in  his  native  city,  and  lived 
there  until  his  death  in  1886 

Adapted  from  W.  E.  Henley ,  Memorial  Catalogue , 
French  and  Dutch  Loan  Collection ,  Edinburgh , 

/ 880 

True  it  is  that  he  has  a  magic — there  is  no  other  word 
for  it — of  his  own 

IE  E.  Henley ,  Memorial  Catalogue ,  French  and  \ 
Dutch  Loan  Collection ,  Edinburgh ,  rS80 


113 — The  Princess 


Loaned  by  Messrs.  Cottier  and  Company 


Munkacsy,  Mihaly  (Michael  Lieb) 

Born  Munkacz,  Hungary,  1844:  died,  Bonn, 
Rhenish  Prussia,  1900.  The  original  family 
name  was  Lieb,  but  when  Hungary  was  recog¬ 
nized  as  an  independent  kingdom  every 
Hungarian  citizen  received  the  right  to  choose  a 
destinctive  Hungarian  name,  and  the  Lieb 
family,  loyal  Hungarians,  though  of  German 
descent,  adopted  a  modification  of  the  name  of 
their  town.  Pupil  of  Szamosy,  at  the  College  of 
Arad,  and  Ligeti;  also  studied  in  Munich  under 
Franz  Adam.  Medals:  Paris,  1870;  2d  class, 
1874;  of  Honor,  1878;  Vienna  1872;  Legion  of 
Honor,  1877;  Officer,  1878;  Member  of  the 
Munich  Academy,  1881 


Few  men  have  experienced  such  vicissitudes  of 
fortune,  and  fewer  still  have  attained  the  degree  of 
success  achieved  by  Munkacsy,  and  therein  we  render 
homage  to  the  man 

Arthur  Fish ,  The  Magazine  of  Art 


114 — The  Haymakers 

Loaned  by  Mr.  Emerson  McMillin 


Murillo,  Bartolome  Esteban 

Born,  Seville,  Spain,  1618:  died  there,  1682. 
Pupil  of  Juan  del  Castillo,  later  of  Velasquez, 
then  in  the  zenith  of  his  fame,  who  gave  him 


valuable  counsel,  and  obtained  admission  for 
him  to  the  royal  galleries,  where  he  copied  the  • 
works  of  the  great  masters.  The  fertility  of  his 
talent,  only  paralleled  by  that  of  Lopez  de  j 
Vega  in  literature,  enabled  him  to  cover  the 
walls  of  private  and  public  buildings  at  Seville 
with  pictures,  now  scattered  all  over  Europe. 

In  representing  his  favorite  subject,  the  Virgin  | 
of  the  Conception,  of  which  the  finest  example 
is  that  in  the  Louvre, Murillo  so  far  surpassed  all  j 
other  painters  that  he  obtained  the  surname  of 
the  Painter  of  the  Conception 


As  a  religious  painter  he  ranks  second  only  to  the 
great  masters  of  Italy.  In  ideal  grace  of  thought  and 
in  force  and  perfection  of  style  he  yields,  as  all  later 
artists  must  yield,  to  that  constellation  of  genius  of 
which  Raphael  was  the  principal  star.  But  his  pencil 
was  endowed  with  a  power  of  touching  religious 
sympathies  and  awakening  tender  emotions  which 
belong  to  none  of  the  Italian  painters  of  the  seventeenth 
century 

Sir  William  Stirling- Maxwell,  Annals  of  the  ’ 
Artists  of  Spain 

' 

115 — The  Triumph  of  Religion 

Loaned  by  Mr.  D.  T.  Watson 

Neuville,  Alphonse  Marie  de 

Born,  Saint  Omer,  France,  1836:  died,  Paris, 
1885.  Pupil  of  Picot.  Medals:  3d  class,  1859; 
2d  class,  1861;  Legion  of  Honor,  1873:  Officer, 
1881. 

He  has  freedom,  audacity,  movement,  truth  of 
physiognomy,  truth  of  gesture,  truth  of  color.  *  *  * 


In  a  word  he  has  the  genius  of  action 

Ernest  Duvergier  de  Hauranne ,  Revue  des  Deux 
Mondes 


Neuville  is  peculiarly  the  French  painter  of  fighting 

Richard  Mitt  her.  History  of  Modern  Painting 


116 —  The  Wounded  Friend 

Loaned  by  the  A.  M.  Byers  Estate 

117 —  Salute  to  a  Wounded  Officer 

Loaned  by  Mr.  Henry  Darlington 

Opie,  John,  R.  A. 

Born,  St.  Agnes,  Cornwall,  1761:  died,  London, 
1807.  About  1780,  he  went  to  London,  heralded 
by  Dr.  John  Wolcot,  (Peter  Pindar)  as  the 
Cornish  Genius,  was  introduced  to  Sir  Joshua 
Reynolds,  and  became  the  wonder  of  the  hour. 
He  became  an  A.  R.  A.  in  1787,  and  R.  A.  in 
1788. 

His  vigorous  pencil,  in  pursuit  of  art, 

Disdain’d  to  dwell  on  each  minuter  part, 
Impressive  force— impartial  truth  he  sought, 

And  travell’d  in  no  heathen  track  of  thought; 
Unlike  the  servile  herd,  whom  we  behold, 

Casting  their  drossy  ore  in  fashion’s  mould, 

His  metal  by  no  common  die  is  knowm, 

The  coin  is  sterling,  and  the  stamp  his  own 

Sir  Martin  Archer  Shee,  Preface  to  his 
Lectures,  1809 


There  is  a  freshness  of  look  and  a  rude  homely 
strength  in  his  pictures  which  belong  to  the  wide 


academy  of  Nature,  and  came  upon  him  in  Cornwall. 
His  strength  lay  in  boldness  of  effect,  simplicity  of 
composition — in  artless  attitudes,  and  in  the  vivid  por¬ 
traiture  of  individual  nature 

Allan  Cunningham ,  The  Liz>es  of  the  Most  Eminent 
British  Painters 

118 —  Portrait  of  the  Artist 

Loaned  by  Mr.  R.  Hall  McCormick 

Pasini,  Alberto 

Born,  Busseto,  Italy,  1826:  died,  Cavoretto, 
Italy,  1899.  Pupil  of  Ciceri,  Isabey,  and  Rous¬ 
seau.  Medals:  1859,  1863,  1864,  1868.  Legion 
of  Honor,  1868;  Officer,  1878.  Medal  of  Honor, 
Exposition  Universelle,  1878 

Turkey  in  Europe  and  Asia  Minor  are  his  domain. 
The  landscape  gives  the  ground -tone  of  his  pictures. 
With  white  marble  palaces  that  gleam  bathed  in  sun¬ 
light,  and  the  showy  saddles  of  Arab  horses;  with  inlaid 
weapons  and  Oriental  turbans  adorned  by  precious 
stones;  with  the  outline  of  far-off  mosques  and  tapering 
minarets  with  wandering  caravans,  *  *  *  with 
elements  such  as  these  he  composed  his  *  *  * 
exquisite  pictures 

Richard  Muther ,  History  of  Modern  Painting 

119 —  Oriental  Stable 

Loaned  by  Mr.  J.  M.  Schoonmaker 

Raeburn,  Sir  Henry,  R.  A. 

Born,  Stockbridge,  Scotland,  1756:  died  near 
there,  1823.  Elected  president  of  the  Society 
of  Artists  in  Scotland  in  1821,  and  in  1831  an 


A.  R.  A.,  and  in  1815  R.  A.  On  the  visit  of 
George  IV.  to  Edinburgh  in  1822  he  was  knighted 
and  the  next  year  he  was  appointed  his  majesty’s 
limner  for  Scotland.  His  portraits  are  distin¬ 
guished  for  great  breadth  of  treatment,  and 
character.  Although  influenced  by  Reynolds, 
his  manner  of  execution  wras  more  like  that  of 
Gainsborough,  with  a  certain  appearance  of 
facility,  yet  lacking  in  that  pearly  freshness, 
which  wTas  a  marked  peculiarity  of  the  latter 
painter 

The  two  painters  with  whom  one  is  inevitably 
tempted  to  compare  Raeburn  are  Hals  and  Velasquez 

Sir  Walter  Armstrong ,  Sir  Henry  Raeburn 

He  was  a  born  painter  of  portraits.  He  looked  people 
shrewdly  between  the  eyes,  surprised  their  manners  in 
their  faces,  and  had  possessed  himself  of  what  was 
essential  in  their  character  before  they  had  been  many 
minutes  in  his  studio.  What  he  was  so  swift  to  per¬ 
ceive  he  conveyed  to  the  canvas  almost  in  the  moment 
of  conception 

R.  L.  Stevenson ,  Virginibus  Puerisqnc 


120— Mrs.  Campbell 

Loaned  by  the  A.  M.  Byers  Estate 

Rembrandt  van  Rijn,  Harmenszoon 

Born,  Leiden,  1606:  died,  Amsterdam,  1669. 
Pupil  of  Jacob  van  Swanenburch  at  Leiden  and 
Pieter  Lastman  at  Amsterdam.  As  etcher  and 
painter,  he  holds  a  unique  place  in  the  history 
of  art.  No  one  has  rivalled  him  in  the  manage¬ 
ment  of  light  and  shade;  few  in  color,  in  char- 


acter,  in  the  expression  of  homely  but  deep 
interest.  Absolutely  original,  he  taught  many 
able  scholars  whose  best  efforts  show  how 
unapproachable  he  is 

His  place  is  with  the  Michael  Angelos,  the  Shake- 
speares,  the  Beethovens.  An  artistic  Prometheus,  he 
stole  celestial  fire,  and  with  it  put  life  into  what  was 
inert,  and  expressed  the  material  and  evasive  sides  of 
nature  in  his  breathing  forms 

From  the  French  by  Florence  Simmonds  1 

The  eyes  and  the  mouth  are  the  supremely  signifi¬ 
cant  features  of  the  human  face.  *  *  *  In  Rem¬ 

brandt’s  personages  the  eye  is  the  center  wherein  life, 
in  its  infinity  of  aspect,  is  most  manifest.  *  *  *  His 
portraits  are  distinguished,  not  only  by  the  absolute 
fidelity  and  precision  of  the  likeness,  but  by  the 
limpidity  of  the  gaze,  which  seems  to  reveal  the  soul  of 
the  sitter,  inviting  us  to  yet  closer  study  and  a  yet 
deeper  knowledge  of  its  secrets 

Emile  Michel ,  Rembrandt:  His  Life.,  His  Work,  and 
His  Time 

121' — Portrait 

Loaned  by  the  A.  M.  Byers  Estate 
122 — The  Accountant 

Loaned  by  Mr  Charles  M.  Schwab 

Reynolds,  Sir  Joshua,  P.  R.  A. 

Born,  Plympton,  England,  1723:  died,  London, 
1792.  Pupil  of  Thomas  Hudson  in  London.  In 
1768,  on  the  establishment  of  the  Royal 
Academy,  he  was  chosen  its  first  president,  and 
was  knighted  by  George  III.  In  1784,  he 
became  principal  painter  in  ordinary  to  the  king,  j 


Ruskin  calls  him  the  “  Prince  of  portrait  painters” 
and  ‘‘one  of  the  seven  colorists  of  the  world,”  placing 
him  with  Titian,  Giorgione,  Correggio,  Tintoretto, 
Veronese  and  Turner 


Sir  Joshua  Reynolds  is  the  painter  of  English  gentle¬ 
men,  English  ladies,  and  English  children,  painting 
little  else— save  charming  bits  of  English  landscape  to 
set  them  in 

E.  G.  Johnson ,  Introduction  to  Reynolds’ 
Discourses 


His  portraits  of  illustrious  men  have  the  dignity  and 
authority  of  history;  his  portraits  of  beautiful  women, 
all  the  charms  of  poetry 

Anna  B.  Jameson ,  Private  Galleries  of  London 

123 —  Miss  Nesbitt 

Loaned  by  the  A.  M.  Byers  Estate 

124 —  Lady  Penn 

Loaned  by  Mr.  D.  T.  Watson 

Ribot,  Augustin  Theodule 

Born,  Breteuil,  Eure,  1823:  died,  Colombes, 
Seine,  France,  1891.  Pupil  of  Glaize.  Medals: 
1864,  1865;  3d  class,  1878;  Legion  of  Honor, 
1878 


From  the  seventies  his  specialty  was  heads — separate 
figures  of  weather-beaten  old  folk,  old  women  knitting 
or  writing,  old  men  reading,  or  lost  in  thought.  *  *  * 
No  artist,  not  even  Ribera,  has  been  a  better  painter  of 
old  people,  and  only  Velasquez  has  painted  children  who 
have  snch  sparkling  life.  Ribot  attains  a  remarkable 
effect  when  he  paints  these  expressive  faces  of  his, 


which  seem  to  follow  you  with  their  looks,  and  are 
thrown  out  from  the  darkness  of  his  canvas 

Richard  Muther,  History  of  Modern  Painting 


125—  Mignonne 

Loaned  by  Messrs.  Durand -Ruel  and  Com¬ 
pany 

Romney,  George,  R.  A. 

Born,  Dalton-le-Furness,  England,  1734:  died, 
Kendal,  England,  1802.  Studied  with  the 
painter  Steele,  at  Kendal.  Never  exhibited  at 
the  Royal  Academy,  and  therefore  was  not 
elected  a  member  of  that  institution.  From 
1775,  when  he  settled  in  London,  he  divided 
the  patronage  of  the  great  and  wealthy  wTitli 
Reynolds  and  Gainsborough 

The  works  of  Romney  are  of  two  kinds,  history  and 
portrait;  in  both  of  which  he  attained,  in  the  eyes  of 
many,  great  distinction,  and  during  his  day  ranked 
with  the  foremost. 

Allan  Cunningham,  The  Lives  of  the  Most  Eminent 
British  Painters 

126 —  The  Daughters  of  Lord  Chancellor  Thurlow: 
Katherine  and  Maria 

Loaned  by  the  A.  M.  Byers  Estate 

Rosenthal,  Toby  Edward,  Munich 

Born,  New  Haven,  Conn.,  1848.  Studied  in 
San  Francisco  under  a  Spanish  painter  (1861), 
then  in  Munich  (1865)  at  the  Royal  Academy, 
later  under  Raupp,  and  again  at  the  Royal 
Academy  under  Piloty.  Medals:  Philadelphia, 
1876;  Munich,  2d  class,  1883 


Mr.  Rosenthal’s  picture  of  the  “Young  Monk”  in 
the  refectory  of  a  convent  was  one  of  the  most  poetic  in 
sentiment  to  be  found  in  the  whole  Exhibition.  It  is 
pure  and  delicate  in  feeling,  and  skillfully  painted 

Prof.  Weir’s  Official  Report  of  the  American 
Centennial  Exhibition  of  187b 


12 7—  Forbidden  Longings  —  Remind  me  not  that  for 
me  alone  there  is  no  Spring 

Loaned  by  Mrs.  A.  A.  Schmertz 

Rousseau,  Pierre  Etienne  Theodore 

Born,  Paris,  1812;  died,  Barbizon,  near  Fon¬ 
tainebleau,  1867.  Pupil  of  R6mond  and  of 
Lethiere.  Medals:  3d  class,  Paris,  1834;  1st 
class,  Paris,  1849,  1855;  Medal  of  Honor,  1867; 
Legion  of  Honor,  1852.  With  Corot,  Daubigny, 
Duprd  and  Diaz,  he  founded  the  modern  French 
school  of  landscape  painting,  of  which  he  is 
one  of  the  chief  glories.  The  P'orest  of  Fon¬ 
tainebleau,  where  he  spent  many  years  of  his 
life,  supplied  him  with  an  inexhaustible  mine 
of  subjects,  which  he  rendered  with  rare  felicity 

Theodore  Rousseau  has  been  for  twenty -five  years 
the  first  apostle  of  truth  in  landscape  painting.  *  *  * 
He  emancipated  the  landscape  painters  as  Moses  liber¬ 
ated  the  Hebrews.  *  *  *  He  led  them  into  a  land  of 
promise,  where  the  trees  had  leaves,  where  the  rivers 
were  liquid 

Edmond  About ,  /8s7 

The  forest  has  no  truer  lover  and  no  better  painter. 
He  saw  it  not  as  a  crowd  of  trees,  but  as  a  monstrous 
organism,  an  enormous  individuality;  and  he  has  ren¬ 
dered  as  none  else  has  done  the  sense  of  its  complex 


mystery  and  immensity,  its  infinite  changefulness  of 
color  and  form,  its  multitudinous  life,  its  impenetrable 
confusion  of  birth  and  death  and  increase  and  decay 

IV.  E.  Henley ,  A  Century  of  Artists 


128 —  Le  Passeur 

Loaned  by  the  A.  M.  Byers  Estate 

129 —  The  River  Seine 

Loaned  by  Miss  Helen  Miller  Gould 

130—  Old  Oak 

Loaned  by  Mr.  E.  Burgess  Warren 


Roybet,  Ferdinand  Victor  Leon,  Paris 

Born,  Uzes,  France,  1840.  Pupil  in  Lyons  of 
/ 

the  Ecole  des  Beaux-Arts 

Ruled  by  a  passion  for  the  Spanish  masters,  *  *  * 
Roybet  painted  cavaliers  of  the  seventeenth  century, 
and  other  historical  pictures  of  manners  which  are 
distinguished  to  their  advantage  from  older  pictures  of 
their  type,  because  it  is  not  the  historical  anecdote,  but 
the  pictorial  idea,  which  is  their  basis.  *  *  *  Roybet 
reveled  in  the  rich  hues  of  old  costumes,  and  sometimes 
attained  a  bloom  and  a  strong,  glowing  tone  which 
rival  the  old  masters 

Richard  Muther ,  History  of  Modern  Painting 

131 — Two  Amateurs 

Loaned  by  the  A.  M.  Byers  Estate 

Rubens,  Peter  Paul 

Born,  Siegen,  Westphalia,  1577:  died,  Antwerp, 

1640.  Pupil  of  Tobias  Verhaegt,  Adam  van 


Noort  and  Otto  van  Veen,  at  Antwerp.  In 
1588  he  was  admitted  to  the  Guild  of  Painters, 
in  Antwerp.  In  1600  he  went  to  Venice  and 
studied  the  works  of  Titian  and  Paul  Veronese. 
For  eight  years  he  was  in  the  service  of  the 
Duke  of  Mantua.  An  excellent  Latin  scholar, 
hewTas  also  proficient  in  French,  Italian, English, 
German  and  Dutch.  These  gifts  procured  him 
diplomatic  employment,  and  he  was  sent  on 
missions  to  Spain,  to  Philip  IV,  and  to  Charles 
I,  of  England.  He  wras  knighted  by  Charles, 
and  given  an  honorary  degree  by  the  University 
of  Cambridge.  How  hard  he  labored  is  known 
by  the  enormous  number  of  his  works — between 
two  and  three  thousand 

His  eye  is  the  most  marvelous  prism  of  light  and 
color  that  has  ever  been  vouchsafed  to  us.  *  *  *  He 
stamps  all  with  the  directness  of  his  character,  the 
warmth  of  his  blood  and  the  magnificence  of  his  vision 

Eugene  Fromentin ,  Maitres  d’ Autrefois 


Rubens  is  to  Titian  what  Titian  was  to  Raphael 
and  Raphael  to  Phidias.  Never  did  artistic  sympathy 
clasp  nature  in  such  a  wide  embrace 

M.  Taitie,  Philosophc  de  F Art  dans  les  Pays-Bas 


132 — St.  Andrew 

Loaned  by  the  A.  M.  Byers  Estate 

Ruisdael,  Jacob  van 

Born,  Haarlem,  1625  (?):  died  there,  1682.  Son 
and  pupil  of  Izack  van  Ruisdael  and  probably  a 
pupil  of  his  uncle,  Salomon  van  Ruisdael.  He 


developed  himself  under  the  influence  of  Cor¬ 
nelius  Vroom,  Guilliam  du  Bois,  Allaert  van 
Everdingen,  and  others.  Among  his  pi1  pils  were 
Meindert  Hobbema  and  Johannes  van  Kessel. 

He  was  the  first  artist  who  habitually  went  to  nature 
in  the  true  spirit  of  a  landscape  painter,  the  first  who 
loved  the  scenes  of  nature  for  themselves,  the  first  who 
distinguished  himself  by  non-conformity  to  the  per¬ 
petual,  popular  requirement  of  figure  interest  in  land¬ 
scape 

Philip  Gilbert  Hamer  loti ,  Etching  and  Etchers 


133 — The  Waterfall 

Loaned  by  the  A.  M.  Byers  Estate 

Schreyer,  Adolf 

Born,  Frankfort-on-the-Main,  Germany,  1828:  I 
died,  Kronberg,  Prussia,  1899.  Studied  at 
Staedel  Institute,  and  at  Stuttgart,  Munich  and 
Dusseldorf.  Accompanied  the  Austrians  on 
the  march  through  the  Danubian  Principalities, 
1854.  Lived  in  Paris  until  1870,  when  he 
settled  in  Kronberg,  near  Frankfort.  Medals: 
Brussels,  1863;  Paris  Salon,  1864,  1865,  1867; 
Munich,  1876;  Member  of  Antwerp  and  Rotter¬ 
dam  Academies;  Court  Painter  to  Grand  Duke 
of  Mecklenberg,  1862;  Order  of  Leopold,  1866 

Schreyer  joins  to  a  grand  and  bold  conception  a 
profoundly  poetic  sentiment.  This  makes  him  both 
German  and  French.  His  manner,  as  well  as  his 
talent,  has  two  natures;  it  recalls  both  Delacroix  and 
Fromentin 


Courrier  Artistigue ,  February,  /S6v 


134 —  Noonday  Rest 

Loaned  by  Mr.  Herbert  DuPuy 

135 —  Arab  Cavaliers 

Loaned  by  Mr.  Lawrence  C.  Phipps 

136 —  The  Bridge 

Loaned  by  Mr.  H.  K.  Thaw 

Swan,  John  Macallan,  London 

Born,  Old  Brentford,  England.  Pupil  of  the 
Worcester  School  of  Art ;  Lambert  Art  School ; 
Gerome,  Bastien- Lepage  in  Paris,  for  painting, 
and  of  Fremiet,  for  sculpture.  Member  of 
Dutch  Water  Color  Society,  1884;  Honorable 
Mention,  Salon,  1885;  Silver  Medal,  Paris 
Universelle  Exposition,  1889;  1st  and  2d  Gold 
Medals,  Munich;  1st  class  Gold  Medal,  Paint¬ 
ing,  and  1st  class  Gold  Medal,  Sculpture,  Paris 
Exposition.  1900 

As  an  animal  painter  Mr.  Swan  is  alone  at  the 
!  present  time  in  the  British  school 

Cosmo  Monkhouse,  The  Magazine  of  Art 


He  constructs  his  animals  with  peculiar  'accuracy; 
the  form,  the  character,  the  gesture,  are  admirably 
!  realized;  the  environment,  of  light  and  air  and  scenery, 
{ iQ  which  they  are  placed  is  observed,  and  rendered  with 
a  keen  sense  of  the  requirements  of  modern  landscape 
ana  a  full  knowledge  of  the  means  by  which  they  are 
to  be  met 

W.  E.  Henley ,  Memorial  Catalogue,  French  and 
Dutch  Loan  Collection ,  Edinburgh,  i88b 


137 — Lioness  and  Cubs 


Loaned  by  Mr.  Charles  Donnelly 

138—  Evening  in  the  Desert 

Loaned  by  Mr.  Emerson  McMillin 

Tkrborch  (TerbergO,  Gerard 

Born,  Zwolle,  Holland,  1608:  died,  Deventer, 
Holland,  1681.  Received  his  first  instructions 
from  his  father,  Geert  Terborch,  then  formed 
himself  in  Amsterdam,  and  especially  in  Haar-  | 
lem,  where  he  entered  the  Guild  in  1635  under 
the  influence  of  Frans  Hals,  and  through  inde¬ 
pendent  study  of  the  master  works  by  Titian,  j 
Rembrandt  and  Velasquez.  In  1646-48,  at 
Munster,  he  became,  through  the  favor  of  the  1 
Spanish  envoy,  the  painter  of  the  diplomatic  ■] 
circle,  and  executed  the  famous  portrait  group 
of  the  Peace  Congress,  now  in  the  National  i 
Gallery,  London 

I 

Nature  under  his  brush  became  filled  with  new  *j 
meanings,  for  he  saw  that  fitness  to  a  designed  end 
■which  nature  stamps  upon  all  her  creations.  *  *  *  f| 
There  are  a  few  of  his  pictures  left  to  us,  but  each  one  j 
of  them  is  worthy  of  long  study 

John  C.  Van  Dyke ,  Old  Dutch  and  Flemish  Masters 

139—  Portrait  of  a  Woman 

140—  Portrait  of  a  Man 

Nos.  139  and  140  loaned  by  Messrs.  Cottier  | 
and  Company 


Troyon,  Constant 

Born,  Sevres,  1810:  died,  Paris,  1865.  In  1842 
Constant  Troyon  left  Sevres  and  went  to  Paris. 
And  entering  the  studio  of  Roqueplan,he  found 
the  great  school  of  landscape  painters  in  its 
glory.  ‘  *  From  the  day  that  he  became  a 
painter  of  animals,  Troyon  took  a  place  of  his 
own  in  the  school,”  says  Charles  Blanc 

In  Troyon’s  landscapes,  the  light  makes  the  whole 
scene  luminous,  and  shines  in  the  cattle’s  healthy  eyes 
and  touches  with  silvery  tint  the  white  hides  of  the 
cows,  sometimes  burnishing  with  a  warmer  color  the 
woolly  coats  of  the  sheep  into  which  you  could  thrust 
your  hand,  and  speaking  the  deep  repose  of  nature — the 
stream  too  where  the  cattle  are  drinking  and  standing 
and  in  whose  mirror  the  clouds  are  reflected,  the  wind¬ 
less  wood,  the  entire  unity  of  landscape  and  life 

y.  M.  Hoppin,  The  Early  Renaissance 

His  good  things  are  numbered  with  the  art  treasures 
of  the  world 

IV.  E.  Henley ,  A  Century  of  Artists 

141 —  La  Bergeronnette 

Loaned  by  the  A.  M.  Byers  Estate 

142 —  Cows  in  Stable 

Loaned  by  Messrs.  Cottier  and  Company 

143—  Black  Cow  and  Dog 

Loaned  by  Mr.  E.  Burgess  Warren 

144 —  Going  to  Market 

Loaned  by  Mr.  D.  T.  Watson 


Turner,  Joseph  Mallord  William,  R.  A. 

Born,  London,  1775:  died  there,  1851.  In  1787 
he  entered  the  school  of  the  Royal  Academy, 
and  for  a  short  time  worked  with  Sir  Joshua 
Reynolds.  He  was  made  associate  of  the  Royal 
Academy  in  1799,  and  royal  academician  in  1802 

Mr.  Ruskin  places  Turner  amongst  the  seven  supreme 
colorists  of  the  world,  the  other  six  being,  in  his 
estimate,  Giorgione,  Titian,  Veronese,  Tintoretto,  Cor¬ 
reggio,  and  Sir  Joshua  Reynolds.  I  need  hardly  dwell 
upon  his  imaginative  power,  which  is  so  evident  to  an}7 
one  who  can  recognize  imagination  when  he  sees  it  that 
instances  are  superfluous.  Every  picture  of  Turner’s, 
every  drawing,  almost  every  sketch,  executed  after  he 
reached  manhood,  bears  evidence  of  the  action  of 
imagination,  which  in  his  works  would  often  amplify 
a  simple  theme,  or  heighten  still  further  the  sublimity 
of  a  sublime  one 

Philip  Gilbert  Hamerton ,  The  Life  of  J.  M.  W. 

Turner 

145 — The  Wreckers 

Loaned  by  the  A.  M.  Byers  Estate 

Van  Dyck,  Sir  Anthony 

Born,  Antwerp,  1599:  died,  London,  1641. 
Pupil  of  Hendrick  van  Balen  and  Rubens  in 
Antwerp.  Admitted  to  the  Antwerp  Guild  of 
Painters  in  1618.  Made  a  short  visit  to  London 
1620-21.  Lived  in  Italy  1623-1627.  Became 
court  painter  to  Charles  I.,  of  England,  in  1632, 
and  was  knighted  while  in  that  position 

It  was  during  the  six  or  seven  years  which  he  passed 
in  his  native  country,  after  his  return  from  Italy,  that 


he  painted  some  of  his  most  important  and  carefully 
executed  works.  The  great  altar-pieces  to  be  seen  to-day 
in  many  of  the  churches  of  Belgium  were  produced  in 
rapid  succession.  Again  and  again,  he  painted  the 
"Holy  Family,”  "The  Madonna,”  "The  Cruci¬ 
fixion,”  *  *  *  pictures  full  of  a  touching  religious 
feeling  and  enthusiasm 

A.  y.  Wauters ,  La  Peinture  Flammande 


Distinction— that  is  this  artist’s  pre-eminent  gift, 
his  master  quality,  which  forms  an  individuality,  and  is 
indelibly  stamped  on  all  those  glorious  works  from  the 
first  tentative  efforts  of  Rubens’  pupil  to  the  immortal 
portrayals  of  Charles  I.,  his  family  and  court 

yules  Gniffrey ,  Antoine  Van  Dyck ,  Front  the  French 
by  William  Alison 


146 —  Portrait  of  the  Princess  Helena  Leonora  de 

Sievere 

Loaned  by  the  Art  Institute  of  Chicago 
From  the  Demidoff  Collection 

147—  The  Abbe 

148 —  The  Madonna 

Nos.  147  and  148  loaned  by  the  A.  M. 
Byers  Estate 


Whistler,  James  Abbott  McNeill,  Paris 

Born,  Lowell,  Mass.,  1834.  Pupil  of  Gleyre. 
Medal:  Paris,  3d  class,  1883;  Chevalier  of  the 
Legion  of  Honor,  1889;  Officer,  1891;  Knight 
of  the  Order  of  St.  Michael  of  Bavaria;  Hon. 
Member  Royal  Academy  of  St.  Luke,  Rome; 
Hon.  Member  of  Royal  Academy  of  Bavaria, 
Munich;  Member  of  the  Socidtd  Nationale  des 


Beaux-Arts,  France;  President,  Society  Sculp¬ 
tors,  Painters  and  Gravers,  England;  Grand 
Prix,  Exposition  Universelle,  1900 


Nature  contains  the  elements,  in  color  and  form,  of 
all  pictures,  as  the  keyboard  contains  the  notes  of  all 
music.  But  the  artist  is  born  to  pick,  and  choose,  and 
group  with  science,  these  elements,  that  the  results  may 
be  beautiful — as  the  musician  gathers  his  notes,  and 
forms  his  chords,  until  he  brings  forth  from  chaos 
glorious  harmony 

, James  Abbott  McNeill  Whistler ,  ’’''Ten  O'clock" 


The  Nocturne,  as  Mr.  Whistler  has  often  conceived 
it,  is  suggestive  rather  than  evocative,  and  it  may  con¬ 
vey  no  meaning  whatever ,  unless  the  sympathetic 
spectator  brings  with  him  a  store  of  observation  and 
souvenirs  which  will  enable  him  to  travel  in  thought 
over  strange  sites  of  sky  and  water  that  form  magic  and 
yet  natural  landscapes 

John  C.  Van  Dyke,  Art  and  Criticism 


149 — Nocturne 

Loaned  by  Mr.  John  G.  Johnson 


150— The  Falling  Rocket:  Nocturne  in  Black  and 
Gold 

Loaned  by  Mr.  Samuel  Untermyer 


Wilkie,  Sir  David,  R.  A 

Born,  Cults,  Fifeshire,  1785:  died  in  the  Bay  of 
Gibraltar,  1841,  an  event  which  has  been 
magnificently  commemorated  by  the  brush  of 
J.  M.  W.  Turner  in  his  painting  “  Peace: 
Burial  at  Sea.”  He  studied  in  Trustees’ 


Academy,  Edinburgh,  from  1799  to  1804.  In  1805 
he  went  to  London  and  entered  the  Royal 
Academy  as  a  student' with  a  certain  reputation 
which  was  acknowleged  by  leading  artists.  In 
1809  he  was  elected  an  A.  R.  A.,  and  in  1811, 
R.  A.  In  1823  he  was  appointed  Limner  to  the 
King  in  Scotland,  and  in  1830,  at  the  death  of 
Sir  Thomas  Lawrence,  he  was  made  Painter  in 
Ordinary,  retaining  this  office  under  William 
IV.  and  Victoria.  Knighted  by  William  IV.  in 
1836 

The  Escape  of  Queen  Mary  is  a  charming  picture, 
full  of  beauty  and  chivalry.  Josephine  and  the 
Sorceress  of  St.  Domingo  is  a  romantic  scene.  *  *  * 
The  perfect  loveliness  of  these  compositions  and  the 
clear  elegance  and  harmony  of  the  coloring,  place  them 
amongst  the  finest  pictures  of  the  British  school 

Allan  Cunningham ,  The  Life  of  Sir  David  Wilkie 

The  Castle  Lochleven,  the  remains  of  which  are  still 
standing,  was  on  the  island  of  the  same  name  in 
Kinrossshire,  Scotland,  eighteen  miles  from  Edin¬ 
burgh,  and  was  the  scene  in  1567-68  of  the  imprison¬ 
ment  of  Mary,  Queen  of  Scots 

151 — The  Escape  of  Mary,  Queen  of  Scots,  from 
Lochleven  Castle 

Loaned  by  Mr.  R.  Hall  McCormick 

Wyant,  Alexander  H.,  N.  A. 

Born,  Defiance,  Ohio,  1836:  died,  New  York 
1892.  Pupil  of  George  Inness  and  Hans 
Gude,  and  later  studied  in  London.  Elected 
Associate  of  the  National  Academy,  New  York, 


1868;  Academician,  1869.  Honorable  Mention, 
Exposition  Universelle,  Paris,  1889.  W.  T. 
Evans  Prize,  American  Water  Color  Society, 
1891.  Was  a  member  of  tbe  Society  of  Ameri¬ 
can  Artists,  and  the  American  Water  Color 
Society 

While  so  many  of  his  twilights  breathe  simply  the 
ineffable  loveliness  of  quiet,  others  are  astir  with 
persuasion  to  spiritual  reflection,  with  the  gentle 
admonition  to  sadness  that  itself  is  purifying,  or  with 
deeper,  fuller  suggestion  of  the  infinite  mystery  of 
nature’s  recurring  sleep  that  swallows  up  the  littleness 
of  man  in  its  immensity.  *  *  *  And  the  music  of 

his  painting  is  that  of  the  violin;  tenderly  vibrating, 
searching  home  to  one’s  heart,  by  turns  lightsome, 
melancholy,  caressing,  impetuous,  but  with  a  tenderness 
in  all 

Charle  H.  C tiffin,  American  Masters  of  Painting 


152—  Moonlight  and  Frost 

Loaned  by  Mr.  George  A.  Hearn 

153—  Early  Twilight 

Loaned  by  Mr.  Emerson  McMillin 

Ziem,  Felix,  Paris 

Born,  Beaune,  Cote  d’Or,  France,  1841.  Pupil 
of  Art  School  at  Dijon.  Medals:  3d  class,  1851, 
1855;  1st  class,  1852;  Chevalier  of  the  Legion 
of  Honor,  1857 ;  Officer,  1878 

He  excels  in  mirroring  the  most  brilliant  colors  in 
a  canal 


Edmond  About,  Nos  Artistes  att  Salon  de  l8S7 


He  has  the  gift  of  charm 

W.  E.  Henley,  Viezvs  and  Reviews:  Art 

154 —  The  Canal 

Loaned  by  Mr.  Charles  Donnelly 

155 —  The  Salute 

Loaned  by  Mr.  Lawrence  C.  Phipps 


CARNEGIE  LIBRARY 
OF  PITTSBURGH 


A  selected  list  of  the  books  and  articles  in 
the  Library  on  the  artists  represented 
in  this  exhibition 

Alexander,  John  W. 

Century,  n.  s.,  v.  32,  p.  155 
Critic,  v.  35,  p.  609 
Harper’s,  v.  99,  p.  694 
Harper’s  weekly,  v.  41,  p.  82 
Scribner’s  magazine,  v.  25,  p.  340 
Studio,  v.  20,  p.  71 

Alma-Tadema,  Sir  Lawrence 

La  Sizeranne’s  English  contemporary  art,  p.  158-170 

Rooses’  Dutch  painters  of  the  nineteenth  century,  y.  1,  p.  141-164 

Stephens’  Lawrence  Alma-Tadema 

Century,  n.  s.,  v.  25,  p.  483 

Magazine  of  art,  v.  2,  p.  193;  y.  20,  p.  42 

Portfolio,  v.  5,  p.  109 

Scribner’s  magazine,  v.  18,  p.  663 

Boldini,  Giovanni 

Catalogue  of  the  masterpieces  gathered  by  W.  H.  Stewart, 
p.  12-13. 

Gupernatis’  Dizionario  degli  artisti  italiani  yiyenti 
Munsey,  v.  18,  p.  824 

Bonheur,  Rosalie  (Rosa)  Marie 

Bonheur’s  Rosa  Bonheur,  her  life  and  work 
Century,  n.  s.,  v.  6,  p.  833 
Harper’s,  v.  104,  p.  136 
Magazine  of  art,  v.  5,  p.  45 


Outlook,  v.  62,  p.  41,  237 
Portfolio,  v.  6,  p.  98 
Review  of  reviews,  v.  20,  p.  34 

Breton,  Jutes  Adolphe  Aime  Louis 

Breton’s  Life  of  an  artist ;  an  autobiography 
Atlantic,  v.  66,  p.  557 
Nation,  v.  52,  p.  223 

Brush,  George  de  Forest 

Caffin’s  American  masters  of  painting,  p.  129-140 
Hartmann’s  History  of  American  art,  v.  1,  p.  261-271 
Century,  n.  s„  v.  29,  p.  954 

Cazin,  Jean  Charles 

Child’s  Art  and  criticism,  p.  43-56 
Century,  n.  s.,  v.  33,  p.  393 
Outlook,  v.  67,  p.  751 

Chase,  William  Merritt 

Benjamin’s  Our  American  artists,  p.  59-72 
Hartmann’s  History  of  American  art,  v.  1,  p.  226-230 
Rummell  and  Berlin’s  Aims  and  ideals  of  representative  Ameri¬ 
can  painters,  p.  86-94 
Harper’s,  v.  78,  p.  549;  v.  87,  p.  3 
Studio,  v.  21,  p.  151 

Constable,  John 

Arnold’s  Gainsborough,  p.  77-125 
p.  191-205 

Hamerton’s  Portfolio  papers,  p.  3-38 
Leslie's  Memoirs  of  the  life  of  John  Constable 
Stephen  and  Lee’s  Dictionary  of  national  biography 
Wedmore’s  Studies  in  English  art,  v.  2,  p.  35-68 
Pall  Mall  magazine,  v.  21,  p.  437 

Corot,  Jean  Baptiste  Camille 

Mollett’s  Painters  of  Barbizon,  v.  2,  p.  1-32 
Muther’s  History  of  modern  painting,  v.  2,  p.  403-426 
Thomson’s  Corot  » 


V  an  Dyke’s  Modern  French  masters,  p.  107-116 

V  an  Rensselaer’s  Six  portraits,  p.  139-189 
Contemporary  review,  v.  26,  p.  157 
Eclectic  magazine,  v.  126,  p.  625 

New  England  magazine,  n.  s.,  v.  5,  p.  691 


Cottet,  Charles 

Kingsley’s  History  of  French  art,  p.  426-427 
Studio,  v.  15,  p.  227 


Couture,  Thomas 

Brownell’s  French  art,  p.  69-72 
Van  Dyke’s  Modern  French  masters,  p.  3-14 
Wolff’s  La  capitale  de  l’art,  p.  201-214 
Atlantic,  v.  52,  p.  233 

Dagnan-Bouveret,  Pascal  Adolphe  Jean 

Child’s  Art  and  criticism,  p.  65-69 
Muther’s  History  of  modern  painting,  v.  3,  p.  46-48 
V  an  Dyke’s  Modern  French  masters,  p.  237-248 
Magazine  of  art,  v.  16,  p.  121 

Daubigny,  Charles  Francois 

Mollett’s  Painters  of  Barbizon,  y.  2,  p.  35-58 
Thomson’s  Barbizon  school,  p.  267-286 
V an  Dyke’s  Modern  French  masters,  p.  155-166 
Wolff’s  La  capitale  de  Part,  p.  145-157 
Century,  n.  s.,  v.  22,  p.  323 
Magazine  of  art,  v.  12,  p.  300 


Decamps,  Alexandre  Gabriel 

Catalogue  of  the  masterpieces  gathered  by  W.  H.  Stewart,  p.  25 
Chesneau’s  La  peinture  fran£aise  au  XIXe  sifecle ;  les  chefs 
d’ecole,  p.  195-261 

Hamerton’s  Contemporary  French  painters,  p.  109-117 
Moreau’s  Decamps  et  son  oeuvre 
Stranahan’s  History  of  French  painting,  p.  222-228 
Wolff’s  La  capitale  de  Part,  p.  189-197 


Degas,  Hilaire  Germain  Edgar 

Brownell’s  French  art,  p.  132-134 
Moore’s  Impressions  and  opinions,  p.  298-323 
Muther’s  History  of  modern  painting,  v.  2,  p.  752-760 
M  agazine  of  art,  v.  13,  p.  416 


Delacroix,  Ferdinand  Victor  Eugene 

Brownell’s  French  art,  p.  53-57 

Chesneau’s  La  peinture  franfaise  au  XIXe  siecle ;  les  chefs 
d’ecole,  p.  3214379 

Hamerton’s  Contemporary  French  painters,  p.  58-63 
Muther’s  History  of  modern  painting,  v.  1,  p.  344-366 
Wolff’s  La  capitale  de  l’art,  p.  79-95 
Lippincott,  v.  34,  p.  307 


Diaz  de  la  Pena,  Narcisse  Virgilio 

Brownell’s  French  art,  p.  68-71 
Mollett’s  Painters  of  Barbizon,  v.  1,  p.  87-107 
Thomson’s  Barbizon  school  of  painters,  p.  167-198 
Van  Dyke’s  Modern  French  masters,  p.  131-139 
Wolff’s  La  capitale  de  l’art,  p.  99-111 


Dupre, Jules 

Brownell’s  French  art,  p.  68-70 
Mollett’s  Painters  of  Barbizon,  v.  2,  p.  59-76 
Thomson’s  Barbizon  school  of  painters,  p.  289-290 
Wolff’s  La  capitale  de  l’art,  p.  57-75 


Fortuny  y  Carbo,  Mariano  Jose  Marie  Bernardo 

Catalogue  of  the  masterpieces  gathered  by  W.  H.  Stewart, 'p.  29-42 
Downes’  Twelve  great  artists,  p.  57-67 


Fromentin,  Eugeine 

Gonse’s  Eugene  Fromentin,  peintre  et  ecrivain 
Wolff’s  La  capitale  de  l’art,  p.  131-142 
Century,  n.  s„  v.  3,  p.  829 
Contemporary  review,  v.  77,  p.  277 
Magazine  of  art,  v.  18,  p.  454 


Gainsborough,  Thomas 

Armstrong’s  Gainsborough 
Armstrong’s  Thomas  Gainsborough 
Arnold’s  Gainsborough,  p.  1-76 
Bell’s  Thomas  Gainsborough 
Carr’s  Papers  on  art,  p.  159-195 

Conway’s  Artistic  development  of  Reynolds  and  Gainsborough, 
p.  35-95 

Fulcher’s  Life  of  Thomas  Gainsborough 

Stephen  and  Lee’s  Dictionary  of  national  biography 

Wedmore’s  Studies  in  English  art,  v.  1,  p.  3-23 

Gerome,  Jean  Leon 

Collection  of  the  works  of  Gerome  (photogravures) 

Hamerton’s  Contemporary  French  painters,  p.  116-120 

Menard’s  French  artists,  p.  19-22 

V  an  Dyke’s  Modern  French  masters,  p.  31-43 

Century,  n.  s.,  v.  15,  p.  483 

Magazine  of  art,  v.  3,  p.  453 

Portfolio,  v.  6,  p.  82 

Hals,  Frans 

Fromentin’s  Old  masters  of  Belgium  and  Holland,  p.  224-234 
Head’s  V  an  Dyck,  p.  85-112 
Knackfuss’  Franz  Hals  (in  German) 

Kugler’s  Handbook  of  painting,  v.  2,  p.  350-354 
Van  Dyke’s  Dutch  masters,  p.  17-25 
Century,  n.  s.,  v.  4,  p.  417 ;  n.  s.,  v.  25,  p.  323 
Nation,  v.  75,  p.  287  (Oct.  9,  1902) 

Portfolio,  v.  5,  p.  167 

Harpignies,  Henri  Joseph 

Catalogue  of  the  masterpieces  gathered  by  W.  H.  Stewart,  p.  47-48 
Studio,  v.  13,  p.  143 


Henner,  Jean  Jacques 

Henry’s  Hours  with  famous  Parisians,  p.  217-220 
Current  literature,  v.  19,  p.  552 
Magazine  of  art,  v.  11,  p.  217 
Studio,  v.  18,  p.  77 


Hobbema,  Meindert 

Cundall’s  Landscape  painters  of  Holland,  p.  39-62 
Van  Dyke’s  Old  Dutch  and  Flemish  masters,  p.  131-134 
Century,  n.  s.,  v.  25,  p.  832 

Hogarth,  William 

Dobson’s  Hogarth 

Hazlitt’s  Lectures  on  the  English  poets  and  the  English  comic 
writers,  pt.  2,  p.  181-204 

Hogarth’s  Works,  from  the  originhl  plates  restored  by  James 
Heath 

Ireland  and  Nichols’  Hogarth’s  works,  with  life  and  anecdotal 
descriptions  of  his  pictures,  3  v. 

Lamb’s  Complete  works,  p.  295-308 
Sala’s  William  Hogarth 

Stephen  and  Lee’s  Dictionary  of  national  biography 
Blackwood’s  magazine,  v.  106,  p.  140 
Century,  n.  s.,  v.  32,  p.  323 
Portfolio,  v.  3,  p.  146 


Hoppner,  John 

Cunningham’s  Lives  of  the  most  eminent  British  painters,  v.  2, 
p.  287-297 

Stephen  and  Lee’s  Dictionary  of  national  biography 
Century,  n.  s„  v.  34,  p.  686 
Munsey,  v,  17,  p.  913 

Inness,  George 

CafBn’s  American  masters  of  painting,  p.  3-15 
Downes’  Twelve  great  artists,  p.  145-150 
Muther’s  History  of  modern  painting,  v.  3,  p,  484-486 
Rummell  and  Berlin’s  Aims  and  ideals  of  representative  Ameri¬ 
can  painters,  p.  36-43 
Century,  n.  s„  v.  27,  p.  530 
Forum,  v.  18,  p.  301 

Isabey,  Eugene  Louis  Gabriel 

Henley’s  Century  of  artists,  p.  89-90 

Larousse’s  Grand  dictionnaire  universel,  v.  9  and  17 

Argosy,  v.  74,  p.  350 


Israels,  Josef 

Muther’s  History  of  modern  painting-,  v.  3,  p.  233-246 
Rcoses’  Dutch  painters  of  the  nineteenth  century,  v.  1,  p,  83-94 
Leisure  hour,  v.  45,  p.  648 
Magazine  of  art,  v.  13,  p.  397 

Jacque,  Charles  Emile 

Hamerton’s  Contemporary  French  painters,  p.  106-108 
Menard’s  French  artists,  p.  30-32 
Stranahan’s  History  of  French  painting,  p.  298-300 
Portfolio,  v.  6,  p.  130 

Kneller,  Sir  Godfrey 

Spooner’s  Biography  of  the  fine  arts,  v.  1,  p.  96-100 
Stephen  and  Lee’s  Dictionary  of  national  biography 
Munsey,  v.  17,  p.  550 

Lawrence,  Sir  Thomas 

Gower’s  Romney  and  Lawrence,  p.  25-78 
Gower’s  Sir  Thomas  Lawrence 

Stephen  and  Lee’s  Dictionary  of  national  biography 
Thornbury’s  British  artists  from  Hogarth  to  Turner,  r.  1,  p.  64-86 
Century,  n.  s.,  v.  37,  p.  372 
Magazine  of  art,  v.  2,  p.  129,  230 

Lenbach,  Franz  von 

Muther’s  History  of  modern  painting,  v.  2,  p.  641-646 
Rosenberg’s  Lenbach  (in  German) 

Art  journal,  v.  40,  p.  Ill 
Century,  n.  s.,  v.  31,  p.  323 
Harper’s,  v.  102,  p.  398 
Magazine  of  art,  v.  9,  p.  51 
Pall  Mall  magazine,  v.  17,  p.  483 

Lerolle,  Henry 

Stranahan’s  History  of  French  painting,  p.'390 

Lhermitte,  Leon  Augustin 

Kingsley’s  History  of  French  art,  p.  340-341 
Muther’s  History  of  modem  painting,  v.  3,  ,p.  30-32 


Stranahan’s  History  of  French  art,  p.  388-390 
Art  journal,  v.  38,  p.  266 

Maes,  (Maas)  Nicholaas 

Gower’s  Figure  painters  of  Holland,  p.  61-64 
Kugler’s  Handbook  of  painting,  v.  2,  p.  384-385 
Van  Dyke’s  Old  Dutch  and  Flemish  masters,  p.  59-64 
Wed  more’s  Masters  of  genre,  p.  63-71 


Manet,  Edouard 

Brownell’s  French  art,  p.  119-123. 

Mother's  History  of  modern  painting,  v.  2,  p.  719-741 
Van  Dyke’s  Modern  French  masters,  p.  213-223 
Wolff’s  La  capitale  de  l’art,  p.  217-234 
Scribner’s  magazine,  v.  15,  p.  48 
Studio,  v.  21,  p.  227 


Maris,  Jacobus 

Rooses’  Dutch  painters  of  the  nineteenth  century,  v.  2,  p.  3-1 
Art  journal,  v.  52,  p.  107 
Magazine  of  art,  v.  24,  p.  481 
Studio,  v.  18,  p.  231 


Martin,  Homer  Dodge 

Caffin’s1  American  masters  of  painting,  p.  115-126 
Critic,  v.  30,  p.  132 

Mauve,  Anton 

Rooses’  Dutch  painters  of  the  nineteenth  century,  v.  3,  p.  3-33 
Magazine  of  art,  v.  19,  p.  71 

Max,  Cornelius  Gabriel 

Catholic  world,  v.  74,  p.  157 
Current  literature,  v.  23,  p.  248 

Meissonier,  Jean  Louis  Ernest 

Gerard's  Meissonier 
Mollett’s  Meissonier 


6 


Muther’s  History  of  modern  painting,  v.  2,  p.  139-147 
Van  Dyke’s  Modern  French  masters,  p.  91-101 
Wolff’s  La  capitale  de  l’art,  p.  171-186 
Magazine  of  art,  v.  4,  p.  133 ;  v.  14,  p.  199 
Nineteenth  century,  v.  43,  p.  822 
Portfolio,  v.  24,  p.  90 

Meyer,  J.  G.  (Meyer  von  Bremen) 

Clement  and  Hutton’s  Artists  of  the  nineteenth  century,  p.  113 
Meyer’s  Konversations-Lexikon 


Millais,  Sir  John  Everett 

Baldry’s  Sir  John  Everett  Millais  ;  his  art  and  influence 
Millais’  Life  and  letters  of  Sir  John  Everett  Millais.  2  v 
Monkhouse’s  British  contemporary  artists,  p.  47-82 
Spielman’s  Millais  and  his  works 
Nineteenth  century,  v.  43,  p.  376 
National  review,  v.  6,  p.  784 
Nation,  v.  63,  p.  156 
Art  journal,  v.  50,  p.  1 

Millet,  Jean  Francois 

Cartwright’s  Jean  Franfois Millet 

Child’s  Art  and  criticism,  p.  137-154 

Gensel’s  Millet  und  Rousseau 

Mollett’s  Painters  of  Barbizon,  v.  1,  p.  1-46 

Naegely’s  J.  F.  Millet  and  rustic  art 

Sensier’s  Jean  Francois  Millet 

Thomson’s  Barbizon  school  of  painters,  p.  201-264 

Yriarte’s  J.  F.  Millet  (in  French) 

V  an  Dyke’s  Modern  French  masters,  p.  179-195 
Nineteenth  century,  v.  24,  p.  419 
Pall  Mall  magazine,  v.  23,  p.  433 


Monet,  Claude  Jean 

Brownell’s  French  art,  p.  124-132,  134-137 
Moore’s  Modern  painting,  p.  84-88 
V  an  Dyke’s  Modern  French  masters,  p.  167-174 
Artist,  v.  29,  p.  57 


Current  literature,  v.  30,  p.  618 
Pall  Mall  magazine,  v.  21,  p.  209 
Studio,  v.  22,  p.  49 

Monticelli,  Adolphe 

Stranahan’s  History  of  French  painting,  p.  390,  391 
Fortnightly  review,  v.  65,  p.  412 


Munkacsy,  Mihaly  (Michael  Lieb) 

Child’s  Art  and  criticism,  p.  155-161 
Ilges’  M.  von  Munkacsy  (in  German) 

Art  journal,  v.  52,  p.  199 
Magazine  of  art,  v.  24,  p.  414 
Outlook,  v.  65,  p.  100 
Public  opinion,  v.  28,  p.  596 


Murillo,  Bartolome  Esteban 

Curtis’  Velasquez  and  Murillo,  p.  115-315 
Hoppin’s  Early  Renaissance,  p.  128-142 
Hurll’s  Murillo 

Knackfuss’  Murillo  (in  German) 

Maxwell’s  Annals  of  the  artists  of  Spain,  v.  3,  p.  983-1100 

Minor’s  Murillo 

Catholic  world,  v.  72,  p.  305,  615 

Neuville,  Alphonse  Marie  de 

Bryan’s  Dictionary  of  painters  and  engravers 

Clement  and  Hutton’s  Artists  of  the  nineteenth  century,  p.  146 

Montrosier’s  Les  artistes  modernes,  v.  2,  p.  1-15 

Wolff’s  La  capitalede  l’art,  p.  299-314 

Opie,  John 

Rogers’  Opie  and  his  works 

Stephen  and  Lee’s  Dictionary  of  national  biography 
Century,  n.  s.,  v.  35,  p.  579 

Pasini,  Alberto 

Clement  and  Hutton’s  Artists  of  the  nineteenth  century 
Gubernatis’  Dizionario  degli  artisti  italiani  viventi 


Raeburn,  Sir  Henry 

Andrews’  Life  of  Sir  Henry  Raeburn 
Armstrong’s  Sir  Henry  Raeburn 
Brown’s  Spare  hours,  v.  3,  p.  345-368 

Sir  Henry  Raeburn ;  a  selection  from  his  portraits  with  introduc¬ 
tion  and  notes  by  W.  E.  Henley 
Stephen  and  Lee’s  Dictionary  of  national  biography 
Stevenson’s  Virginibus  puerisque,  p.  205-221 
Century,  n.  s.,  v.  35,  p.  48 
Portfolio,  y,  10,  p.  200 

Rembrandt  Van  Rijn,  Harmenszoon 

Bell’s  Rembrandt  and  his  work 
Curtis’  Rembrandt’s  etchings 

Fromentin’s  Old  masters  of  Belgium  and  Holland,  p.  218-223, 
235-313 

Hamerton’s  Etchings  of  Rembrandt 
Knackfuss’  Rembrandt 

Michel’s  Rembrandt ;  his  life,  his  work,  and  his  time.  2  v. 
Mollett’s  Rembrandt 

Van  Dyke’s  Old  Dutch  and  Flemish  masters,  p.  29-42 
Century,  n.  s.,  v.  25,  p.  163 
Edinburgh  review,  v.  150,  p.  151 
Westminster  review,  v.  154,  p.  73 

Reynolds,  Sir  Joshua 

Armstrong’s  Sir  Joshua  Reynolds 

Leslie  and  Taylor’s  Life  and  times  of  Sir  Joshua  Reynolds.  2  v 
Phillips’  Sir  Joshua  Reynolds 
Pulling’s  Sir  Joshua  Reynolds 
Smetham’s  Literary  works,  p.  3-97 
Stephen  and  Lee’s  Dictionary  of  national  biography 
Century,  n.  s.,  v.  32,  p.  815 
Portfolio,  v.  4,  p.  66,  82 

Ribot,  Augustin  Theodule 

Larousse’s  Grand  dictionnaire  universel,  v.  17 
Muther’s  History  of  modern  painting,  v.  3,  p.  553-557 


Romney,  George 

Gamlin’s  George  Romney  and  his  art 

Stephen  and  Lee’s  Dictionary  of  national  biography 

Wedmore’s  Studies  in  English  art,  v.  2,  p.  “-32 

Century,  n.  s„  v.  34,  p.  350 

Magazine  of  art,  v.  2,  p.  70:  v.  24,  p.  440 

Nineteenth  century,  v.  49,  p.  523 

Portfolio,  v.  4,  p.  18,  34 


Rosenthal,  Toby  Edward 

Clement  and  Hutton’s  Artists  of  the  nineteenth  century,  p.  222 
Overland  monthly,  v.  14,  p.  284 

Rousseau,  Pierre  Etienne  Theodore 

Gensel’s  Millet  und  Rousseau,  p,  67-112 
Mollett’s  Painters  of  Barbizon,  v.  1,  p.  47-85 
Sensier’s  Souvenirs  sur  Th.  Rousseau 
Thomson’s  Barbizon  school,  p.  97-166 
Van  Dyke’s  Modern  French  masters,  p.  119-128 
Wolff's  La  capitale  de  l’art,  p.  115-128 

Roybet,  Ferdinand  Victor  Leon 

Catalogue  of  the  masterpieces  gathered  by  W.  H.  Stewart,  p.  73-74 
Montrosier’s  Les  artistes  modernes,  v.  1,  p.  141-143 

Rubens,  Peter  Paul 

Fairholt’s  Homes,  haunts  and  works  of  Rubens,  Van  Dyke. 

Rembrandt  and  Cuyp,  p.  1-97 
Fromentin’s  Old  masters  of  Belgium  and  Holland,  p.  18-107 
Galerie  de  Rubens 
Kett’s  Rubens 

Knackfuss’  Rubens  (in  German) 

Michel’s  Rubens:  his  life,  his  work  and  his  time.  2  v 
Stevenson's  Peter  Paul  Rubens 

Van  Dyke’s  Old  Dutch  and  Flemish  masters,  p.  163-174 
Century,  n.  s„  v.  28,  p.  483 

Ruisdael,  Jacob  van 

Cundall’s  Landscape  and  pastoral  painters'of  Holland,  p.  5-38 
Fromentin's  Old  masters  of  Belgium  and  Holland,  p.  183-195 


Kugler’s  Handbook  of  painting,  v.  2,  p.  470-475 

Van  Dyke’s  Old  Dutch  and  Flemish  masters,  p.  121-127 

SCHREYER,  ADOEF 

Clement  and  Hutton’s  Artists  of  the  nineteenth  century,  p.  244 
Magazine  of  art,  v.  18,  p.  133 

Swan,  John  Macallan 
Academy,  v.  51,  p.  386 
Magazine  of  art,  v.  17,  p.  171 
Studio,  v.  11,  p.  236  ;  v.  22,  p.  75,  151 

Terborch  (Terberg),  Gerard 
Dohme’s  Early  masters,  p.  274-292 

Fromentin’s  Old  masters  of  Belgium  and  Holland,  p.  168-182 

Gower’s  Figure  painters  of  Holland,  p.  14-20 

Kugler’s  Handbook  of  painting,  v.  2,  p.  394-396 

Van  Dyke’s  Old  Dutch  and  Flemish  masters,  p.  79-84 

Wedmore’s  Masters  of  genre,  p.  72-105 

Magazine  of  art,  v.  11,  p.  91 

Troyon,  Constant 

Blanc’s  Les  artistes  de  mon  temps,  p.  313-323 
Hamerton’s  Contemporary  French  painters,  p.  89-% 

Thomson’s  Barbizon  school  of  painters,  p.  287-289 
V  an  Dyke’s  Modem  French  masters,  p.  143-151 
Wolff’s  La  capitale  de  l’art,  p.  159-170 

Turner,  Joseph  Mallord  William 

Hamerton’s  Life  of  J.  M.  W.  Turner 
Monkhouse’s  Turner 

Stephen  and  Lee’s  Dictionary  of  national  biography 
Sweetser’s  Artist  biographies,  v.  4,  pt.  1 
Thornbury’s  Life  of  J.  M.  W.  Turner 
Turner  gallery 

Turner’s  Liber  studiorum.  2  v 

Van  Dyck,  Sir  Anthony 

Cust’s  Antony  Van  Dyck 
Guiffrey’s  Sir  Anthony  Van  Dj-ck 


Head’s  Van  Dyck,  p.  1-83 
Knackfuss’  V an  Dyck 

Law’s  Van  Dyck’s  pictures  at  Windsor  Castle 
Rooses’  Fifty  masterpieces  of  Anthony  Van  Dyck 
V an  Dyke’s  Old  Dutch  and  Flemish  masters,  p.  177-185 
Living  age,  v.  223,  p.  799 


Whistler,  James  Abbott  McNeill 

Bowdoin’s  James  McNeill  Whistler,  the  man  and  his  work 

Caffin’s  American  masters  of  painting,  p.  37-51 

Child’s  Art  and  criticism,  p.  81-97 

Moore’s  Modern  painting,  p.  1-24 

Muther’s  History  of  modern  painting,  v.  3,  p.  645-664 

Fortnightly  review,  v.  57,  p.  543 

Independent,  v.  51,  p.  2954 

McClure’s,  v.  7,  p.  374 

Scribner’s  magazine,  v.  21,  p.  277 


Wilkie,  Sir  David 

Cunningham’s  Life  of  Sir  David  Wilkie,  3  v 
Gower’s  Sir  David  Wilkie 

Hazlitt’s  Lectures  on  the  English  poets  and  on  the  English  comic 
writers,  pt.  2,  p.  189-193 
Mollett’s  Sir  David  Wilkie 

Pinnington’s  Sir  David  Wilkie  and  the  Scots  school  of 'painters 
Stephen  and  Lee’s  Dictionary  of  national  biography 
The  Wilkie  gallery ;  a  selection  of  the  best  pictures,  with 
notices  biographical  and  critical 


Wyant,  Alexander  H. 

Caffin’s  American  masters  of  painting,  p.  143-152 
Clement  and  Hutton’s  Artists  of  the  nineteenth  century,  p.  303 
Hartmann’s  History  of  American  art,  p.  90-94 
Rummell  and  Berlin’s  Aims  and  ideals  of  representative 
American  painters,  p.  33-35 

Ziem,  Felix 

Clement  and  Hutton’s  Artists  of  the  nineteenth  century,  p.  370 
Larousse’s  Grand  dictionnaire  universe!,  v.  15 
Muther’s  History  of  modern  painting,  v.  2,  p.  533 


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